MESSAGE FROM THE MAYOR
On behalf of the City of St. John’s, I am pleased to extend warm greetings to the Newfoundland Symphony Orchestra as you launch your 2025/2026 season, Obsessed, Onstage, Onfire.
This year’s theme reflects the passion, dedication, and energy the NSO brings to our community year after year. Through inspiring performances, meaningful education programmes, and steadfast community engagement, the NSO continues to ignite a love of music that enriches the cultural fabric of our city.
My sincere thanks go to the musicians, staff, volunteers, patrons, and sponsors who make each season possible. Your commitment ensures that the symphony not only thrives, but also continues to inspire audiences of all ages.
On behalf of Council, I congratulate the NSO on another exciting season and wish you every success as you share your extraordinary talent with our community.
Warm regards, Danny Breen Mayor of St. John’s
Message from the Lieutenant Governor
As Honorary Patron of the Newfoundland Symphony Orchestra, it is my great pleasure to extend greetings and very best wishes for the 2025-2026 season.
The NSO is a wonderful orchestra, which has served to cultivate and profile many of the exceptional artists we have in our province. The gift of the NSO’s rich orchestral music has become an integral part of the cultural fabric of Newfoundland and Labrador. Again this year, a variety of performances are planned, sure to delight audiences and inspire us all.
This season is the first under the artistic leadership of Music Director Simon Rivard. Congratulations on your new role, and welcome!
I hope you will enjoy the performances the NSO has in store this year. To everyone involved: the musicians, staff, crew, and all who have a hand in producing this season, I thank you and wish you the best.
Joan
Marie J.
Aylward, O.N.L Lieutenant Governor of Newfoundland and Labrador
We acknowledge the province of Newfoundland and Labrador as the traditional territory of diverse Indigenous groups, and we acknowledge with respect the distinct histories and cultures of the Beothuk, Mi’kmaq, Innu, and Inuit of this province. We strive for respectful relationships with all the peoples of this province as we search for collective healing and true reconciliation and honour this beautiful land together.
MASTERWORKS
4
THE DAWN OF THE WORLD
Friday, March 20th, 2026 • St. John’s Arts & Culture Centre
Presented by Wedgwood Insurance
Simon Rivard, conductor
Anna-Sophie Neher, soprano (Gabriel/Eve)
Frédéric Antoun, tenor (Uriel)
Jesse Blumberg, baritone (Raphael/Adam)
The Philharmonic Choir of the NSO (Stephen Candow, conductor)
Franz Joseph Haydn The Creation
Part I
1a. Representation of Chaos
1b. Aria & Chorus “Now vanished” (Uriel)
2a. Recit. “And God made the firmament” (Raphael)
2b. Solo & Chorus “What wonder” (Gabriel)
3a. Recit. “Let the waters” (Raphael)
3b. Aria “Rolling in foaming billows” (Raphael)
4a. Recit. “Let all the earth bring forth grass” (Gabriel)
4b. Aria “Now cooling green” (Gabriel)
5a. Recit. “And the heavenly host” (Uriel)
5b. Chorus “Awake the harp”
6a. Recit. “Let there be lights” (Uriel)
6b. Recit. “In shining splendour “(Uriel)
6c. Chorus “The heavens are telling”
Part II
7a. Recit. “Let the waters bring” (Gabriel)
7b. Aria “On mighty wings” (Gabriel)
8a. Recit. “And God created great whales”(Raphael)
8b. Trio “In fairest raiment now” (Gabriel, Uriel, Raphael)
8c. Chorus with Trio “The Lord is great”
INTERMISSION
9a. Recit. “Let the earth bring forth” (Raphael)
9b. Recit. “Straight opening her fertile womb” (Raphael)
9c. Aria “Now shines the brightest glory” (Raphael)
10a. Recit. “And God created man” (Uriel)
10b. Aria “In native worth” (Uriel)
11a. Recit. “And God saw everything” (Raphael)
11b. Chorus with Trio “Fulfilled at last the glorious work” (Gabriel, Uriel, Raphael)
Part III
12a. Recit. “In rosy mantle” (Uriel)
12b. Duet and Chorus “By thee with grace “ (Adam & Eve)
13a. Recit. “Now is our duty” (Adam & Eve)
13b. Duet “Sweet companion” (Adam & Eve)
14a. Recit. “O happy pair” (Uriel)
14b. Final Chorus “Sing to God”
CONDUCTOR SIMON RIVARD
Simon Rivard is a Canadian conductor active across North America and Europe. The 2025/26 season marks the start of his tenure with the Newfoundland Symphony Orchestra, where he will lead works including Haydn’s The Creation, alongside engagements with Edmonton Opera conducting Wagner’s Siegfried. He also debuts with the Lapland Chamber Orchestra in Finland in a world premiere by Kalevi Aho and appears with orchestras including Orchestre symphonique de Montréal and Orchestre Métropolitain. A former Resident Conductor of the Toronto Symphony Orchestra, Rivard studied at the Conservatoire de musique de Montréal and McGill University and will teach orchestral conducting at the Conservatoire beginning in 2025.
GUEST ARTISTS
ANNA-SOPHIE NEHER, SOPRANO
Canadian-German soprano Anna-Sophie Neher, a former member of the Ensemble Studio of the Canadian Opera Company, is impressing audiences as a Mozart, Baroque and French repertoire specialist. This season Anna Sophie Neher appeared as the soprano soloist in Handel’s Messiah with the Orchestre Métropolitan and Yannick Nézet-Séguin as well as with the Orchestre Symphonique de Gâtineau. She will join the Orchestre Symphonique de Québec for Mozart’s Requiem and I Musici for a Christmas program. Future projects include returns to the C.O.C. as Euridice in Orfeo ed Euridice and to the Orchestre Métropolitain de Montréal and Yannick Nézet-Séguin in Bach’s Christmas Oratorio.
FRÉDÉRIC ANTOUN, TENOR
Internationally lauded, Québec-born tenor Frédéric Antoun’s voice has been described as “noble and sincere... equal to any heard on international stages today.” (Opera Canada) In the 2024-2025 season, he returned to the Toronto Symphony Orchestra under the baton of Jukka-Pekka Saraste for Mozart’s Requiem, Orchestre Métropolitain for Handel’s Messiah with Yannick Nézet-Séguin, and the Toronto Mendelssohn Choir for Beethoven’s Missa Solemnis with Jean-Sébastien Vallée. On the opera stage, he joined Opéra de Montréal for Puccini’s
La boheme and Opera West (Vancouver) for Massenet’s Manon. This upcoming season, Frédéric looks forward to joining the Philadelphia Orchestra, and returning to Orchestre Métropolitain.
JESSE BLUMBERG, BARITONE
Baritone Jesse Blumberg enjoys a busy schedule of opera, concerts, and recitals, performing repertoire from the Renaissance and Baroque to the 20th and 21st centuries. The 2025/2026 season sees Jesse collaborate with American Bach Soloists, Indianapolis Baroque, Victoria Baroque, and the Canadian Art Song Project. He looks forward to his debut with Ottawa’s National Arts Centre Orchestra for Handel’s Messiah. Recent highlights include Bach’s Christmas Oratorio with Tafelmusik, Bach’s St Matthew Passion with the Grand Philharmonic Choir, Fauré’s Requiem with Symphony New Brunswick, and Handel’s Messiah with Boston Baroque.
VIOLIN 1
Heather Kao (concertmaster)
Dominic Greene (asst. concertmaster)
Andy Kao
Anastasia Kiseleva
Whit Fitzgerald
Gabriel Brodeur
Amanda Yee (OCP)
Rachael Hammond
VIOLIN 2
Nancy Case-Oates (principal)
Carole Bestvater
Elena Vigna
Iliyas Duissen
Jacquelyn Redmond
Sofiia Terzioglu
Cathy Anstey
Stewart Gillies
Cathy Beehan
VIOLA
Kate Read (principal)
Ema Shiroma-Chao
Chantal Jubenville
Rosaura Aguilar
Norma Noseworthy
Jonathan Stevenson
CELLO
Nathan Cook (principal)
Nulibeth Ortiz
Amy Collyer-Holmes
Sandra Pope
Nancy Bannister
Katherine Shipley
MUSICIANS
BASS
Frank Fusari (principal)
Denise Lear
Nick Howlett
Matthew Hardy
FLUTE
Michelle Cheramy (principal)
Sarah Comerford
Donna Spurvey
OBOE/ENGLISH HORN
Annie Corrigan (principal)
Grace Noseworthy
CLARINET
Glenn Rice (principal)
Brenda Gatherall
BASSOON
Grant Etchegary (principal)
Nicole Hand
Chris Williams
HORN
Emily Dunsmore (principal)
Doug Vaughan
TRUMPET
Katie Sullivan (principal)
Jill Dawe
TROMBONE
Darren McDonald (principal)
Erin Sullivan
BASS TROMBONE
Andrew Cooper (principal)
PERCUSSION
Rob Power (principal)
HARPSICHORD
Jenny Griffioen (principal)
PHILHARMONIC CHOIR OF THE NSO
Soprano Christina Acton, Christa Ayris, Karen Berglander, Andrea Blair, Glenda Compton, Mary Connolly Wilson, Esther Derksen
Joanne Faour, Vicki Ficzere, Emma Grigor, Beth Halfyard, Amanda Hann, Elizabeth Henderson, Helen Menchions, Amanda Michael, Margie Murray Reed, *Adriana Power, Rolene Pryor, Sunjung Pyon, Gloria Small, Oksana Tomkiv, Ruth Wakeham
Alto Ina Benner, Marie Cahill, Mary Cahill, Lana Collins, Marjorie Doyle, Donna Hamilton, Sophie Haven, Mary Lynn Hiscock, Cathy Jackman, Carol Joyce, Donna Marie Kelly, Dawn Mason, Doris Mayo, Margaret Moore, Barbara O’Keefe, Ann Ryan, Kathy Skinner, Sarah Smith, Colleen Sullivan, Janet Whittaker, Elizabeth Wright
Tenor Kingsley Alozie, Darrell Boone, Barbara Canning, Tom Connors, Jordan Kilfoy, Rob Pittman, Richard Seale, Rinalda Vlasova, Christopher Williams
Bass Harry Bown, Glenn Chafe, Fonse Faour, Jim Healey, Paul Lundrigan, Scott Moffatt, Peter Ralph, Eric Sheppard, Keith Snelgrove, Chris Stevenson, Wolfgang Thomeier, Graham Wakeham, Bruce Woodland
*soloist in Final Chorus
The Philharmonic Choir of the Newfoundland Symphony Orchestra (PCNSO) is a community choir based in St. John’s, Newfoundland and Labrador, Canada. Founded in 1987 as an oratorio choir specifically to perform Handel’s Messiah with the NSO, the PCNSO has broadened itself substantially and now performs several concerts each season with a wide variety of repertoire. The PCNSO continues to be dedicated to working cooperatively with the NSO to foster and perform symphonic choral music.
TRANSLATIONS
The Creation (Die Schöpfung)
Hoboken XXI:2 Franz Joseph Haydn (1732-1809)
Translation by Robert Shaw and Alice Parker
Part I
1a. Introduction
The Representation of Chaos
DAY ONE
Recitative (Raphael)
In the beginning, God created Heaven and Earth; and the Earth was without form and void; and darkness was upon the face of the deep.
Chorus
In the spirit, God moved upon the face of the waters; and God said: Let there be light. And there was light.
Recitative (Uriel)
And God saw the light, that it was good; and God divided the light from the darkness.
1b. Aria and Chorus (Uriel)
Now vanished by the holy beams the ancient, ghostly, shuddering blackness; the First of Days appears. Confusion yields, and order shines most fair. Aghast, the fiends of hell confounded fly; down they sink in the deep abyss to endless night.
Chorus
Convulsion, rage and terror engulf their monstrous fall. A new created world springs forth at God’s command.
DAY TWO
2a. Recitative (Raphael)
And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament; and it was so.
Then howling raged the blast of the tempest.
The clouds then were driven like chaff in the wind, the lightnings slashed the heaven asunder, and crashing thunder resounded on high. From waters rose at his command the all-refreshing rain, the devastating hail, the light and flaky snow.
2b. Solo and Chorus (Gabriel)
What wonder doth his work reveal to heaven’s host in joyful throng, and loud resounds throughout the skies the praise of God and of the Second Day.
Chorus
And loud resounds throughout the skies the praise of God and of the Second Day.
DAY THREE
3a. Recitative (Raphael)
And God said: Let the waters under the heaven be gathered together to one place, and let the dry land appear; and it was so. And God called the dry land Earth, and the gathering of the waters called he seas; and God saw that it was good.
3b. Aria (Raphael)
Rolling in foaming billows, tumultuous swells the raging sea. Highland and headland uplifted through clouds their towering summits rise.
Through broad and ample plains full flows the gathering stream and winding wanders.
Lightly murmuring, gently glides through silent glades the crystal brook.
4a. Recitative (Gabriel)
And God said: Let all the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth: And it was so.
4b. Aria (Gabriel)
Now robed in cool refreshing green, the fields their new enchantment wear; and more to charm the sight arise the flowers in bright array. Here herbs of every leaf abound; here dwells a healing grace.
The burdened boughs their golden fruit afford; here arbors spread their vaulted, restful shade. and lofty hills are crowned with kingly groves.
5a. Recitative (Uriel)
And the heavenly host proclaimed the Third Day, praising God and saying:
5b. Chorus
Awake the harp, ye choirs awaken, Loud let the praise of God be sounded. Rejoice in the Lord, the mighty God; Surely the heavens and earth has he girded with splendor and light.
DAY FOUR
6a. Recitative (Uriel)
And God said: Let there be lights in the firmament of heaven to divide the day from the night, to give their light upon the earth; and let them be for signs and for seasons, and for days and for years. He made the stars also.
6b. Recitative (Uriel)
In shining splendor, radiant now the sun bestrides the sky; a wondrous, joyful bridegroom, a giant proud and glad, he runs his ordered course. With softer steps and wistful shimmer, steals the moon through still enshadow’d night. The boundless vaults of heaven’s domain shine with unnumbered magnitude of stars. And the sons of God rejoiced in the Fourth Day in chorus divine, praising God’s great might, and saying:
6c. Chorus
The heavens are telling the glory of God; with wonders of his work resounds the firmament. Revealed are his ways by day unto day, by night that is gone to following night.
The heavens are telling the glory of God; with wonders of his work resounds the firmament. In every land is known the Word, Every ear will hearken; never tongue be dumb.
The heavens are telling the glory of God; with wonders of his work resounds the firmament.
Part II
DAY FIVE
7a. Recitative (Gabriel)
And God said: Let the waters bring forth abundantly every moving creature that hath life, and fowl that fly above the earth in the open firmament of heaven.
7b. Aria (Gabriel)
On mighty wings now circling soars the eagle proud and cleaves the air with swift exulting flight to greet the sun. At morn the lark his cheerful welcome sings; adoring, coos the tender turtle dove. From every bush and grove pours now the nightingale her sweetest carol; no grief has ruffled yet her breast, nor yet to sorrow has been tuned her charming roundelay.
8a. Recitative (Raphael)
And God created great whales, and every living creature that moveth; and God blessed them, saying: Be fruitful all and multiply, ye creatures of the sky; be multiplied and fill the air with song! Multiply, ye creatures of the waters, and fill each watery deep!
Be fruitful, grow, and multiply! Rejoice in the Lord your God! And the angels struck their immortal harps and sang the wonders of the fifth day.
8b. Trio (Gabriel Uriel, Raphael)
In fairest raiment now, with virgin green adorned, the
rolling hills appear. From deep and secret springs, in fleeting crystal flow, the cooling brook doth pour.
In joyful garlands borne on wheeling tides of air, upwings the feathered host. The myriad feathers’ gleam reflects in shimmering flight the golden sun’s pure light.
From sparkling waters leap the fish and twisting flash in ceaseless motion round. From deepest ocean home waltzes up leviathan, in foaming waves to play.
How many are Thy works, O God! Who may their number tell? Who? O God? Who may their number tell?
8c. Chorus with Trio
The Lord is great, and great His might, and ever stands His name
9c. Aria (Raphael)
Now shines the brightest glory of heaven; now spreads the lavish attire of earth. The air is filled with soaring processions, the water swelled by swarming legions; the ground is trod by ponderous beasts, But all the work was not complete; there wanted yet that wondrous being, that God’s design might thankful see and grant his goodness joyful praise.
10a. Recitative (Uriel)
And God created Man in his own image; in the image of God created he him; male and female, created he them. And God breathed into their nostrils the breath of life, and they became a living soul.
10b. Aria (Uriel)
9a. Recitative (Raphael)
And God said: Let earth bring forth every living creature after his kind, cattle and creeping things, and beast of the earth after his kind.
9b. Recitative (Raphael)
Straight opening her fertile womb, the earth brings forth at God’s command unnumbered living creatures, in perfect forms, and fully grown.
Triumphant, roaring stands the lion there. With a lightning leap, the tiger appears. Bounding with branching head, the nimble stag. With snorting and stamping, flying mane, uprears in might the noble steed. In pleasant pastures, quietly the cattle graze on meadows green. And o’er the ground, as growing there, abide the fleecy, gentle sheep. As clouds of dust arise, in swarms assembled the host of insects. In long dimension creeps, with sinuous trace, the worm.
In native worth and honor clad, with beauty, strength and courage formed, toward heaven raised uprightly, stands a man, the lord and king of nature all. His proud and arching, noble brow proclaims of wisdom’s deep abode, and in his eyes with brightness shines the soul, the breath and image of his God. And to his breast he softly holds one of and for him formed. his other self, his pure delight. With virgin grace so sweetly giv’n as springtime’s charms bestowed, she loves him, he loves her, yields their joy and bliss.
11a. Recitative (Raphael)
And God saw everything that he had made, and behold, it was very good; and the heavenly choir loud rejoicing raised their song of praise and hailed the Sixth Day.
11b. Chorus with Trio (Gabriel, Uriel, Raphael)
Fulfilled at last the glorious work; the Maker sees with sure delight. Let all our joy resound aloud; eternal praise to him accord. From thee, O Lord, doth all proceed; all nature must they bounty wait. If open be they hand, its fullness feedeth all.
But if thy face be turned away, A ghostly terror fills the night, the living breath is gone, and dust returns to dust. Thy breath, O Lord, is felt again, and life awakes with sweet surprise. Renewed is all the earth, refreshed its charm and might.
Fulfilled at last the glorious work, Eternal praise to Him accord. For He alone doth reign exalted. Alleluia. Glorious be His name forever. Alleluia.
Part III
12a. Recitative (Uriel)
In rosy mantle, bright awaked by sweetest tones, the morning young and fair. From heaven’s vaulted realm streams purest harmony to earth below. Behold the happy pair as hand in hand they go: as from their eyes radiant shines the thanks they owe. Full soon their tongues shall tell the louder praise of God. Then let our voices ring united with their song!
12b. Duet and Chorus (Adam and Eve)
By Thee with grace, O bounteous Lord, are earth and heaven stored. This world, so great, so wonderful, Thy mighty hand has framed. O blessed be His holy might; His praise we sing eternally.
Thou star of morning, O how fair thy tidings of the day; What radiance rare, O sun, is thine, thou eye and soul of all! Proclaim, in your extended course, your maker’s power and glory bright! And thou, the tender queen of night, and all ye starry host, proclaim in every land His praise in heaven’s harmonies! Ye mighty elements, by His power your endless changes make; ye misty vapors, which the wind doth spin and roll through air.
O sing the praise of God the Lord. Great is His name, and great His might. Soft flowing fountains, tune his praise, and trees adoring bow. Ye fragrant plants, ye flowers fair, with sweetness fill the air! Ye that on a highest mountain climb, and ye that lowly creep, ye whose flight doth cleave the skies, and ye that swim the deep. Ye, creatures of our God and King, praise, praise Him, all ye breathing life!
Ye shadowed woods, ye hills and vales, your thanks with ours unite and echo loud from morn to eve our joyful hymn of praise. Hail, mighty God, Creator, hail! The world
springs forth at Thy command. Adoring earth and heaven stand. We praise Thy name forevermore.
13a. Recitative (Adam and Eve)
Now is our duty well fulfilled; our Maker have we duly thanked. Now follow me, companion of my life! Thy match I’ll be, and every step wakes new delight within my breast, shows wonders everywhere. Then surely thou shalt know what boundless realms of joy the Lord hath given us. Him praise we evermore, Him serve with heart and mind. Come, follow me! Thy match I’ll be. O thou for whom I live! My arm, my shield, my all! Our wills in union meet. So doth our Lord ordain; That I walk with thee is my joy and glory.
13b. Duet (Adam and Eve)
Sweet companion, here beside thee softly fly the golden hours. Every moment is rapture; naught of sadness lingers near.
Dearest husband! here beside thee floods of joy o’erflow my heart. That thou love me is my blessing; thine forever is my life.
The dew-freshened morning, O bright awakening! The coolness of evening, sweetly restoring! How rich the taste of round and ripened fruit! How charming the scent of gay and fragrant flower!
But without thee, what is to me: the morning dew? The evening cool? The ripened fruit? The fragrant flower? With thee is every joy exalted; with thee, delight is ever new; with thee is rapture everlasting. Thine be my love and life.
14a. Recitative (Uriel)
O happy pair! and happy evermore if false conceit betray ye not, the more to covet than ye have and more to know than ye should.
14b. Final Chorus
Sing to God, ye hosts unnumbered! Thanks, all thanks for wonders new created! Praise his name in song unending, loud in festival rejoicing! The Lord is great, He reigns forevermore. Amen.
PROGRAM NOTES
MASTERWORKS 4: The Dawn of the World Program Notes provided by: Dr. Annalise Smith
Johann Sebastian Bach wrote in every musical genre of the Baroque era, with one notable exception: opera. The birth of opera in Florence circa 1600 marked the start of the Baroque era, and while the often scandalous and comic plots made the genre antithetical to sacred composition, the music characteristics of opera—notably the focus on the solo voice—made it difficult for composers to ignore. Almost simultaneous with the birth of opera, oratorio emerged as a genre in which the musical and stylistic components of the former were bent to religious and spiritual themes. When Pope Clement XI banned opera in Rome in 1703, claiming it inspired immoral behaviour, operatic composers such as Alessandro Scarlatti simply turned their attention to writing oratorios and continued writing virtuosic vocal music. Even Bach, famously abstaining from opera, wrote many cantatas and passions influenced by operatic vocal styles.
Despite the heavy influence of opera, oratorio is not merely the same genre in a sacred disguise. Departing from the spectacle of opera, with its elaborate costuming, scenery, and choreography, oratorios are un-staged, with the vocalists and orchestra sharing the stage. By the late-eighteenth century, oratorios were also marked by their focus on the chorus. Choristers not only represented characters within the drama, but also served as kind of Greek Chorus, narrating and commenting on the drama. Providing a sense of both grandeur and community, the chorus is often the emotional and energetic core of the oratorio—think of the excitement and awe felt by the audience at the arrival of the “Hallelujah Chorus” from Handel’s Messiah.
Joseph Haydn (1732-1809) was at the height of his career when he composed The Creation (1799). Released from his strict contract with the Esterházy family in 1790, Haydn travelled to London as one of the world’s most famous living composers. Originally contracted to write a series of 12 symphonies by impresario Peter Salomon, Haydn had the opportunity to hear several of Handel’s oratorios during his visits, likely inspiring his return to the genre. Salomon provided Haydn with the initial text for the Creation, a poem that borrowed from biblical sources as well as John Milton’s Paradise Lost. Upon returning to Vienna, Haydn passed the poem on to Baron Gottfried van Swieten, who used it to create a German libretto as well as a new English version of the text. Officially published in both languages, The Creation is still frequently performed in both German and English.
MASTERWORKS 4: THE DAWN OF THE
Haydn’s Creation is in three sections. The first part concerns the creation of earth and plant life, the second introduces the creation of animals as well as humans, and in the third, we see Adam and Even in the idyllic Garden of Eden. There are three soloists—a soprano, a tenor and a bass—who in parts I and II represent the angels Gabriel, Uriel, and Raphael; the bass and soprano take on the roles of Adam and Eve in part three. The arias sung by the soloists are preceded by recitatives—a kind of simple, speech-like song—which take their text from the book of Genesis, whereas the text of the arias and choruses are poetic reflections on the biblical narrative.
In addition to his moniker as the “Father of the Symphony,” Haydn was an accomplished operatic composer, writing some twenty operas for the Esterházy estate. His skills in both genres are evidenced here, with melodic and virtuosic arias supported by rich orchestrations. Of note is Haydn’s use of tone painting, with the creation story enlivened through orchestral colour and musical effects. The prelude, “The Depiction of Chaos” depicts the formless void that existed before creation through the avoidance of clear tonal relationships and sudden shifts in instrumentation and dynamics. This is followed by the creation of light, in which the pulsing formlessness of chaos is blown away by the sudden awe-inspiring, fortissimo arrival of “light.” Keep an ear out for Haydn’s musical depictions of storms, sunrises, birdsong, roaring lions, and the pastoral joy of the Garden of Eden.
OVATION A STANDING FOR OUR SUPPORTERS
NSO Staff
Simon Rivard, Music Director
Martin MacDonald, Principal Pops Conductor
Hugh Donnan, CEO
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Jennifer Brennan, Education & Outreach Coordinator
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NSO Board
Jessica Chapman (Chair)
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Tom Hickey (Past Chair)
Douglas Wright (Treasurer)
Robert Thompson (Corporate Secretary)
Philip Harrington
Eleanor Swanson
Heather McKinnon
Andrea Rose
Duncan Fitzpatrick
Glenn Colton
Alana
Aimee
Robert
Jennifer
Jing
Karen
Chris
Amanda
Charlie
Andrii Shyshkin
Beth Porter
