MALAYSIANPHILHARMONIC ORCHESTRA

The Malaysian Philharmonic Orchestra (MPO) gave its inaugural performance at Dewan Filharmonik PETRONAS (DFP) on 17 August 1998. With the initial search for outstanding musicians involving a worldwide audition tour, the result was a symphony orchestra made up of musicians from 25 nations, including Malaysians, a remarkable example of harmony among different cultures and nationalities.

A host of internationally-acclaimed musicians have performed with the MPO including Lorin Maazel, Sir Neville Marriner, Yehudi Menuhin, Joshua Bell, Harry Connick Jr., José Carreras, Andrea Bocelli, Dame Kiri Te Kanawa, Vladimir Ashkenazy, Chris Botti and Branford Marsalis, many of whom have praised the MPO for its fine musical qualities and vitality.

With each new season, the MPO continues to present an exciting programme of orchestral music drawn from over three centuries, as well as the crowd-pleasing concert series. Its versatility transcends genres, from classical masterpieces to film music, pop, jazz, traditional, contemporary and commissioned works.

The MPO regularly performs in major cities of Malaysia. Internationally, it has toured Singapore (1999, 2001, 2003, 2005 and 2018), Japan (2001, 2009 and 2017), Korea (2001), Australia (2004), China (2006), Taiwan (2007) and Vietnam (2013). The MPO has also released 21 commercial CDs.

Its Education and Outreach Programme (ENCOUNTER) reaches beyond the concert platform to develop musical awareness and appreciation through dedicated activities at such diverse venues as schools, colleges, hospitals and community centres.

The MPO’s commitment to furthering musical interest in the nation has been the creation of the Malaysian Philharmonic Youth Orchestra (MPYO); its debut concert at DFP in 2007 was followed by a Peninsula Malaysia tour. The MPYO has also performed in Sabah and Sarawak, Singapore, Brisbane and Hong Kong.

The MPO remains steadfast in its mission to share the depth, power and beauty of great music. Its main benefactor is PETRONAS and its patron is YABhg. Tun Dr. Siti Hasmah Haji Mohd Ali.

All details are correct at time of printing. Dewan Filharmonik PETRONAS reserves the right to vary without notice the artists and/or repertoire as necessary. Copyright © 2019 by Dewan Filharmonik PETRONAS (Co. No. 462692-X). All rights reserved. No part of this programme may be reproduced in any form without the written permission of the copyright owners.

The concert will last approximately 120 minutes with a 20-minute interval.

Sat 26 Jan 2019 at 8.30 pmSun 27 Jan 2019 at 3.00 pmTue 29 Jan 2019 at 8.30 pm Malaysian Philharmonic OrchestraStanislav Kochanovsky, conductorEduard Martynyuk as HermanTatiana Pavlovskaya as LisaPavel Yankovsky as TomskyKirill Zharovin as YeletskyIrina Shishkova as PolinaAnna Kiknadze as GräfinMikhail Kolelishvili as SurinAlexander Mikhaylov as ChekalinskyDithyrambic Singers

PROGRAMME

TCHAIKOVSKY Queen of Spades

STANISLAV KOCHANOVSKYconductor

Stanislav Kochanovsky studied at St. Petersburg Conservatoire and is considered as one of the brightest and most promising young conductors from Russia today. With an in-depth knowledge and experience of a wide range of symphonic and operatic repertoire gleaned during his formative years conducting at the Mikhailovsky Theatre and as a Chief Conductor of the State Safonov Philharmonic Orchestra, he is now receiving attention from orchestras and opera houses around the world.

After successful debuts with the Royal Concertgebouw Orchestra and Orchestre National du Capitole de Toulouse, highlights of the 2018/19 season include debuts with the Orchestre de Paris, Oslo Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Guerzenich Orchestra Cologne and Royal Stockholm Philharmonic. Kochanovsky has been reinvited to perform with all major orchestras following his debuts, including the Accademia Nazionale di Santa Cecilia, Netherlands Radio Philharmonic, Rotterdam and St. Petersburg Philharmonics, National Orchestra of Belgium, Russian National Orchestra, Orchestra Sinfonica della RAI and Melbourne Symphony Orchestra.

Following his debut at the Verbier Festival in 2017 with Eugene Onegin in concert, Kochanovsky returned in 2018, conducting a symphonic programme (with Mikhail Pletnev) and Rigoletto; a concert marking the 25th anniversary of the Festival.

Recent opera engagements have included Pique Dame and Eugene Onegin (Opernhaus Zürich), Iolanta (Maggio Musicale Fiorentino), Prince Igor (Dutch National Opera Amsterdam) and Boris Godunov (Korean National Opera). As a guest conductor, he regularly performs at the Mariinsky Theatre and has more than thirty operas in his repertoire.

In addition to his dedication conducting the pillars of the classical repertoire, Kochanovsky has a strong interest in conducting rarely performed works; he has performed Ligeti’s Requiem and Scriabin-Nemtin’s Prefatory Action ‘Mysterium’ in Brussels, and Shostakovich’s unfinished opera The Gambler in St. Petersburg. He is also committed to bringing works by living composers to the stage such as Fedele, Broström, Visman, Campogrande, Martinsson, Golijov and Thorvaldsdottir, amongst others. Upcoming season sees him conducting cantatas by Jan van Gilse’s Sulamith and Sergei Taneyev’s John of Damascus in Amsterdam’s Concertgebouw.

EDUARD MARTYNYUKas Herman

Born in Ukraine, Eduard Martynyuk graduated from Dnepropetrovsk State Drama College. He has won prizes at the International Operetta and Musical Competition in Odessa and the Spring International Arts Festival in Pyongyang. He began his professional career as a soloist of the Odessa Music Comedy Theatre and later joined the Ural Operetta Theatre and Belarus State Academic Music Theatre. Since 2004, he has been a soloist in the National Academic Bolshoi Opera and Ballet Theatre of the Republic of Belarus, and since 2011, a guest soloist at

the Bolshoi Theatre in Moscow. As soloist of Belarus opera, he has toured to Thailand, Germany, Hungary, North Korea and the UK. His many Russian roles include Herman in Tchaikovsky’s Queen of Spades, Vaudemont in Tchaikovsky’s Iolanta, the Young Gypsy in Rachmaninoff’s Aleko, Kaschei in Rimsky-Korsakov’s Kaschei the Immortal, and Vladimir in Borodin’s Prince Igor. Other roles include Don Jose in Carmen, Pinkerton in Madama Butterfly, Erik in The Flying Dutchman, Rodolfo in La bohème, and Cavaradossi in Tosca.

TATIANA PAVLOVSKAYAas Lisa

An Honored Artist of Russia, Tatiana Pavlovskaya began her music education playing the piano and later, as a choral director. She graduated from St. Petersburg’s State Rimsky-Korsakov Conservatory of Music in 1994 and later made her Mariinsky Theatre debut as Tatiana in Tchaikovsky’s Eugene Onegin. She has worked on the operatic stage with such artists as Plácido Domingo, José Carreras, Paata Burchuladze, Dmitri Hvorostovsky and Natalie Dessay. She has also collaborated with the London Philharmonic Orchestra, Philadelphia Orchestra and the

Orchestre de la Suisse Romande. Her discography can be found on the Deutsche Grammophon, Philips, Decca and OEHMS Classics labels. Her wide-ranging repertory includes roles in Britten’s War Requiem, Borodin’s Prince Igor and Rachmaninoff’s The Bells.

PAVEL YANKOVSKYas Tomsky

Belarus-born Pavel Yankovsky gained early experience as a soloist in the Opera and Ballet Theatre of the St. Petersburg Conservatory where he made his debut in the title role in Tchaikovsky’s Eugene Onegin. Also, from 2005 to 2008, he was a soloist at the Mariinsky Academy of Young Singers, appearing in several of the theatre’s productions at home as well as participating in tours with conductor Valery Gergiev to Washington, DC, Madrid and Tokyo. Since 2017, he has appeared regularly at the Mariinsky Theatre as a guest soloist, and since 2010, has been a lead soloist at the Novosibirsk State Academic Opera and Ballet Theatre where he has sung more than 20 roles including the title roles in Eugene Onegin, Prince Igor and Rigoletto, Scarpia in Tosca, Escamillo in Carmen, Germont in La traviata, and Marcello in La bohème. With this company, he toured to Thailand and South Korea.

KIRILL ZHAROVINas Yeletsky

Kirill Zharovin was born in Minsk, Belarus. He graduated from the Glinka Minsk State College of Music in 2000, and the following year became a soloist at the Mariinsky Academy of Young Opera Singers. From 2007 to 2009, he served as an intern at the National Academic Bolshoi Opera and Ballet Theatre in Belarus. In addition to participating in various masterclasses, he has taken classes with Craig Rutenberg, a renowned coach at the Metropolitan Opera in New York. Between 2009 and 2012, he was a soloist at the Zazerkalle Theatre in St. Petersburg, and from 2012 to 2017, was a soloist for the St. Petersburg Chamber Opera. During the past two years, he has been a soloist at the Mariinsky Theatre where he made his debut in 2017 as Monforte in Verdi’s Vespri siciliani. Other roles he has sung there include Sharpless in Madama Butterfly, Renato in Ballo in maschera, and the title role in Macbeth. Russian roles include the title role in Eugene Onegin, Eletsky and Tomsky in The Queen of Spades, Mizgir in Rimsky-Korsakov’s Snow Maiden, and Robert in Tchaikovsky’s Iolanta.

IRINA SHISHKOVAas Polina

Mezzo-soprano Irina Shishkova was born in St. Petersburg and graduated from the city’s conservatory. She also has degrees in piano and voice from the Rimsky-Korsakov Musical College. She made her debut at the Novosibirsk Opera Theatre singing the title role in Carmen in 2008. That same year, she sang the role of Pauline in Tchaikovsky’s Queen of Spades. The following year, she again sang Carmen as part of the Novosibirsk Opera Theatre’s visit to Seoul. At the Mariinsky Theatre in St. Petersburg, she went on to sing the Composer

in Strauss’ Ariadne auf Naxos, Olga in Tchaikovsky’s Eugene Onegin, Angelina in Rossini’s Cenerentola, Isabella in Rossini’s Italian in Algiers, Cherubino in Mozart’s Marriage of Figaro, and Siebel in Gounod’s Faust. She can be heard on record in the role of Kaschyevna in Rimsky-Korsakov’s Kaschei the Immortal.

ANNA KIKNADZEas Gräfin (The Countess)

Mezzo-soprano Anna Kiknadze was born in Tbilisi, Georgia. She graduated from the Tbilisi State Saradzhishvili Conservatory in 1999. From 1997 to 2000, she was a soloist at the Tbilisi State Opera House, and since 2000, has been a soloist at the Mariinsky Academy of Young Singers in St. Petersburg. Highlights of her early career include a finalist at the Cardiff Singer of the World Competition, Operalia Competition (Paris) and the International Rimsky-Korsakov Competition (St. Petersburg). Her repertory includes many of the leading

mezzo-soprano roles including those in three Tchaikovsky operas; the title role in The Queen of Spades, Larina in Eugene Onegin, and Martha in Iolanta. Titles roles include Bizet’s Carmen and Saint-Saëns’ Samson et Dalila, as well as the Verdi roles of Amneris in Aida, Maddalena in Rigoletto, and Dame Quickly in Falstaff; and the Wagner roles of Frika in both Das Rheingold and Die Walküre, Erda in Das Rheingold, and Flosshilde in both Das Rheingold and Götterdämmerung.

MIKHAIL KOLELISHVILIas Surin

Moscow-born Mikhail Kolelishvili graduated from the Tbilisi State Conservatory. He has been a soloist at St. Petersburg’s Mariinsky Academy since 2002, and a soloist at the Mariinsky Theatre since 2009. He was a finalist at the BBC Cardiff Singer of the World Competition in 2005 and first prize winner of the Elena Obraztsova Competition in 2003. He has also distinguished himself at other competitions including the Monuiszko Competition in Warsaw, and Grand Prix Prince Rainier III of the Monte Carlo Voice Masters in 2008. In 2014,

he made his Metropolitan Opera debut in New York singing the role of the Priest in Shostakovich’s Lady Macbeth of Mtsensk. His repertory includes many of the great bass roles in Russian opera such as Khan Konchak in Borodin’s Prince Igor, Varlaam in Mussorgsky’s Boris Godounov, Saltan in Rimsky-Korsakov’s Tale of Tsar Saltan, and King René in Tchaikovsky’s Iolanta. Other major roles include both Leporello and the Commendatore in Mozart’s Don Giovanni, the Grand Inquisitor in Verdi’s Don Carlos, Don Basilio in Rossini’s Barber of Seville, and Sarastro in Mozart’s The Magic Flute.

ALEXANDER MIKHAYLOVas Chekalinsky

After his debut at the Mariinsky Theatre in 2014, Alexander Mikhaylov became a guest soloist of the theatre and performed Hylas in Les Troyens, The Indian in Sadko and Fedor in War And Peace that same year. In season 2015/16, he performed the main role of Andrey Morozov in Tchaikovsky’s The Oprichnik, in Schchedrin’s new creation A Christmas Tale, Prince Kuragin in War And Peace and Gabriele Adorno in Simon Boccanegra. His roles in the season 2014/15 included Alfredo in La traviata, Cassio in Otello, Hylas in Les

Troyens, the title role in The Nose, Vakula the blacksmith in Christmas Eve, First Jew in Salome, Pong in Turandot, and Wise man, Guardsman, Student and Apostle Iohan in Pyotr Gekker’s The Damned Apostle. His repertoire also includes Lykov in The Tsar’s Bride, Young Gypsy in Aleko and Mozart’s Requiem at the St. Petersburg State Conservatory. Engagements in the season 2018/19 include roles in The Idiot, Falstaff and The Nose, all at the Mariinsky Theatre.

SOPRANO Vivian Lim Xiau Yin* Ong Kah Wei** Chong Zhi Rui Woon Li Qi Yit Aik Lum Tan Shu Zhen Jessandra Wong Lirn Xin Brenda Teh Boon Bee Tee Zhi Yin Chan Siew Fan Goh Xin Tian Ong Shin Ling Lydia Yuen Yuet Hoe Pang Ai Lee Lucy Liu Chin Ru Kimmie Ch’ng Khoo Lian Loo Ng Sherley

ALTO Cornie Kok Choy Foong* Jessica Teh Ann Ling* Aris Lee Chin Pin Ng Rou Hui Emily Yong Jia Chyi Yeo Wan Lin Nichole Wong Ming Sze Yong Kai Yi Faith Ooi Fang XiHow Xiang Yun Amelina Lim Vin Shao Chong Wan ShinHellen Shee Xinjie Eve Law Wen Her Qistina Alysha Sia Wen Lin Fong Ee Veen Tan Shiao Yeh Tan Ai Lynn Lee Bei Lin Phoebe Shin Pui Hang

TENOR Justin Lee Shan Ching* Jeremy Yeo Jia Cai** Terrence Ling Hung Shu Victor Hoo Wei Ter Teo Lee On Mohamad Shahrizal Ahmad Kamal Lee Yi Chen Chris Chin Kai Wen Richard Siaw Ree Cheng Zex Ku Gee Jie Matthew Wong King Jer Alvin Moo Sen Yuan Mason Loo Yoong Yang Wong Sheng Yuan Tan Tah Meng Oskar Musaev Julian Joseph Hendriks Fong Khai Yang

BASSGan Kee Huong*Shaun Chow Chon Hoe**Yong Wai Kit Richard Ng Li Zhe Timothy Lim Jing EuAndrew Chang Keng Wai Charles Dan Zhi JhetAng Yuen WeeJason Low Lik How Qayyum Zainal Anthony Ting Sing Hau Vincent Ng Yao De Loi Liang Hao Gan Zhi Khang Ean Tan Jun Hoe Mah Chong Hoe Siea Chin Chuan, Sean Henry Chua Wee SoonLee Qi Ann

*Sectional Leaders**Assistant Sectional Leaders

DITHYRAMbIC SINGERSChoral Director: Ian Lim Kean Seng

Founded in 2005, the Dithyrambic Singers from Kuala Lumpur is one of the leading choral ensembles in Malaysia. Displaying an array of vocal qualities, the choir’s artistic excellence is recognized internationally through its participation in numerous competitions and performances, and hopes to increase awareness and appreciation of choral music through performance, outreach and education. The choir has claimed many international titles at various choir competitions. It has been invited to perform in South Korea, Singapore, Hong Kong, Indonesia, China, Brunei and at the prestigious Carnegie Hall in the New York world premiere of the concert version of Eric Whitacre’s The City and The Sea.

Dithyrambic Singers performs frequently with the Malaysian Philharmonic Orchestra (MPO). Collaborations include Distant Worlds: Music from FINAL FANTASY (2012 and 2014), Andrea Bocelli’s Asia World Tour (2013), Bizet’s Carmen and Mahler Symphony No. 2 (2015), Mozart’s Requiem (2016) and Beethoven’s Ninth Symphony (2017). In 2017, the choir joined Arnie Roth for the third time in FINAL FANTASY 30th Anniversary - JIRITSU with the National Symphony Orchestra. It recently performed Carmina Burana, conducted by Roberto Abbado with the MPO.

CHORAL DIRECTOR Ian Lim Kean SengCHOIR MANAGERNg Rou HuiASSISTANT CONDUCTOR Terrence Ling Hung ShuREHEARSAL PIANISTJeremy Yeo Jia Cai DICTION COACHOskar Musaev

CHOIR LIST

PROGRAMME NOTES

To most music lovers, Tchaikovsky’s operatic output, until recently consisted of a single work, Eugene Onegin. This remains the best known of the composer’s eight completed operas, but The Queen of Spades is now close behind, and several of his remaining operas have also received considerable attention in recent years – Mazeppa, Iolanta and The Maid of Orleans (Jeanne d’Arc) in particular. This is good news to Tchaikovsky lovers, and The Queen of Spades provides an excellent platform for them to proclaim this composer’s genius. Concertgoers will discover a wealth of wonderful melody, vividly drawn characters and dramatic intensity – all hallmarks of the Romantic period in general and of Tchaikovsky in particular.

PIOTR ILYICH TCHAIKOVSKY (1840-1893)The Queen of Spades (1890)

The background

What length would you go to in order to win – and win big!, every time – at cards? That is the premise behind the story of Tchaikovsky’s penultimate opera, The Queen of Spades. The story is based on a short novel (1833) by Alexander Pushkin, one of Russia’s greatest authors whose works have served as material for operas also by Glinka (Ruslan and Ludmilla), Mussorgsky (Boris Godounov), Rimsky-Korsakov (Mozart and Salieri, Tsar Saltan and The Golden Cockerel), Rachmaninoff (Aleko and The Miserly Knight), and Stravinsky (Mavra), as well as two more by Tchaikovsky, Mazeppa and the best known of his eight completed operas, Eugene Onegin. Prior to Tchaikovsky’s treatment of Pushkin’s story, Fromental Halévy created a French-language opera in 1850, and Franz von Suppé brought out a German-language operetta in 1862 (revised 1864).i.pinimg.com

The Queen of Spades (also known by its French title, Pique Dame) followed Eugene Onegin by twelve years. In the late 1880s, the director of the Imperial Theatres, Ivan Vsevolozhsky, decided to commission three operas based on Pushkin to promote Russian (as opposed to Italian) opera. He wanted Tchaikovsky for The Queen of Spades but the composer declined. It took several more requests over several years to get Tchaikovsky to agree. In January 1890, to escape the many distractions and emotional turmoil in which he was embroiled in Russia, Tchaikovsky fled to Florence, where he composed the vocal score in just 44 days, then to Rome where he began orchestrating the score, which he completed back home in Russia.

The libretto was freely adapted by the composer’s brother Modest, much as books are for film scripts today. Herman, the central figure, acquired a completely different personality, characters were added or dropped, and the ending was far more tragic than Pushkin’s, to mention only a few alterations. Russian music scholar Harlow Robinson summarizes the opera’s differences as follows: “Tchaikovsky looks at Pushkin’s characters through the distorting lens of fin-de-siècle gloom. He deepens the psychological portraits, transforming the protagonists Herman and Lisa into tragic characters more typical of Dostoyevsky’s urban nightmares than of Pushkin’s self-consciously ‘literary’ and playful fictional universe. The optimism of triumphant post-Napoleonic Russia, which prevailed when Pushkin wrote his story in 1833, is gone. In the score and libretto, it is replaced by nervous foreboding, despair and melancholy nostalgia. Communicated in the very first bars of the overture, this sense of approaching catastrophe intensifies throughout the opera, building to a powerful, tragic climax”.

The Queen of Spades was first presented on 19 December 1890 in St. Petersburg to great acclaim, and went on to become Tchaikovsky’s second most popular opera today.

Synopsis

Act I

The time is late 18th century, the place St. Petersburg. Following the opening chorus, Surin and Chekalinsky comment on the strange, melancholic behaviour of their friend and fellow officer, Herman, who can often be seen at the gambling table yet never playing. Herman confesses to his friend Tomsky that he is in love with a girl whose name he does not even know. We soon learn that her name is Lisa, and that she is engaged to Prince Yeletsky. The couple appears, accompanied by Lisa’s elderly grandmother, the Countess (Gräfin). They leave, and Tomsky relates her story. Many years ago, she was a renowned beauty in Paris, often at the gambling table and mysteriously winning every time with a sequence of three cards (hence her nickname “the Queen of Spades”). Only two

others ever knew the magic sequence, and they no longer exist. Rumour has it that should she ever disclose her secret to a third person, she would die on the spot. Herman takes this all to heart and resolves to be that third person. The story turns back to Lisa. After songs and dances with her friends, including a solo number from Pauline (Polina), she expresses doubt about her impending marriage to Yeletsky. Lisa and Herman meet again and confess their mutual love.

Act II

At a fancy dress ball, Chekalinsky and Surin tease Herman about the three cards story, to the point where Herman cannot distinguish reality from imagination. Lisa and Yeletsky are also at the ball, the former appearing to lose interest in him, the latter doing his best to assure Lisa that he really loves her. Prior to the ball, Lisa had sent Herman a note asking to meet him there. When they do, she tells him that the Countess will be away the next day, and gives him a key that will admit him through a garden passageway to her bedroom, which lies past the Countess’ room.

But Herman is not as interested in Lisa as he is in learning the Countess’ secret. He goes to the Countess’ room that very night and confronts her with his demand. When she refuses to comply, he brandishes a pistol and she dies of fright. Lisa rushes in and realizes that what Herman really wanted was not her love but the old lady’s secret.

Act III

In his barracks, Herman reads a letter from Lisa. She has forgiven him for the death of her grandmother, and asks to meet him at midnight at the bridge by the river. As he muses on past events, the ghost of the old Countess appears, and reveals to him the magic formula: three–seven–ace. Lisa and Herman indulge in a joyful, but brief reunion at the bridge. However, when she learns that with his newfound knowledge of the card secret he intends to return immediately to the gaming table, she throws herself into the river. The opera’s final scene takes place at the card table. The mood is festive. Tomsky and Chekalinsky each sing a song, then all sit down to play faro. Yeletsky is there too. Herman arrives and bets huge sums against Yeletsky. Herman wins with the three and the seven, but when he triumphantly, without looking, holds up the third card, expecting it to be an ace, he discovers to his horror that it is the Queen of Spades, not an ace. He imagines the Countess’ ghost mocking him, and pulling out his revolver, shoots himself. In his dying moments, he asks forgiveness from Lisa and Yeletsky.

Concert Notes by Robert Markow

Tchaikovsky with Nikolay and Medeya Figner, who sang the roles of Herman and Liza in thepremiere of 'Queen of Spades' in 1890.

wikipedia.org

Note: Sectional string players are rotated within their sections. *Extra musician.

MALAYSIAN PHILHARMONIC ORCHESTRA

PARTNER HOTELS

CORPORATE SUITEPREMIUM MEMBERSRESIDENT

CONDUCTORSNaohisa FurusawaGerard Salonga

FIRST VIOLINCo-ConcertmasterPeter DanišPrincipalMing GohCo-PrincipalZhenzhen Liang

Maho DanišMartijn NoomenSherwin ThiaRuna BaagöeMiroslav DanišEvgeny KaplanMarcel AndriesiiTan Ka MingPetia Atanasova

SECOND VIOLINSection PrincipalTimothy PetersAssistant PrincipalLuisa Hyams

Stefan KocsisAnastasia KiselevaCatalina AlvarezIonuț MazareanuChia-Nan HungYanbo ZhaoLing YunzhiRobert Kopelman

VIOLACo-PrincipalGábor Mokány

Ong Lin KernSun YuanFan RanThian Ai WenEmil Csonka*David Samuel*Christoven Tan*Melody Teoh

CELLOCo-PrincipalCsaba KörösAssistant PrincipalSteven RetallickSub-PrincipalMátyás Major

Gerald DavisLaurențiu GhermanJulie DessureaultElizabeth Tan SuyinSejla Simon

DOUBLE BASSSection PrincipalWolfgang Steike

John KennedyJun-Hee ChaeNaohisa FurusawaRaffael BietenhaderAndreas Dehner

FLUTESection Principal*Andrew NicholsonCo-PrincipalYukako YamamotoSub-PrincipalRachel Jenkyns

PICCOLOPrincipalSonia Croucher

OBOESection PrincipalSimon EmesCo-Principal*Celia CraigSub-PrincipalNiels Dittmann

CLARINETSection PrincipalGonzalo EstebanCo-PrincipalDavid Dias da SilvaSub-PrincipalMatthew Larsen

BASS CLARINETPrincipalChris Bosco

BASSOONSection PrincipalAlexandar LenkovCo-Principal*Gordon FantiniSub-PrincipalDenis Plangger

CONTRABASSOONPrincipalVladimir Stoyanov

HORNSection PrincipalsGrzegorz Curyla*Peter DavidaCo-PrincipalJames SchumacherSub-PrincipalsLaurence DaviesBarkin SönmezerAssistant PrincipalSim Chee Ghee

TRUMPETCo-PrincipalWilliam TheisSub-PrincipalJeffrey MissalAssistant PrincipalMatthew Dempsey

TROMBONECo-PrincipalsFernando Borja*Marques YoungSub-PrincipalGu Hongyi

BASS TROMBONEPrincipal*Sebastian Cifuentes

TUBAPrincipal*Mario Torrijo Navarro

TIMPANISection PrincipalMatthew Thomas

PERCUSSIONSection PrincipalMatthew PrendergastSub-PrincipalsJoshua VonderheideTan Su Yin

HARPPrincipalTan Keng Hong

PIANO*Akiko Daniš

Dewan Filharmonik PeTronaS

ChieF eXeCUTiVe oFFiCerSareen Risham

BUSineSS & markeTinGmanaGemenTSoraya Mansor

BUSineSS DeVeloPmenTWan Yuzaini Wan Yahya At Ziafrizani Chek PaNurartikah IlyasKartini Ratna Sari Ahmat AdamAishah Sarah Ismail Affendee

markeTinG Yazmin Lim AbdullahMunshi Ariff Abu HassanHisham Abdul JalilFarah Diyana IsmailNoor Sarul Intan SalimMuhammad Shahrir AizatAhmad Kusolehin Adha Kamaruddin

CUSTomer relaTionShiPmanaGemenTYayuk Yulianawati RilaJalwati Mohd Noor

mUSiC TalenT DeVeloPmenT &manaGemenTAhmad Muriz Che Rose

PlanninG, FinanCe & iTMohd Hakimi Mohd RosliNorhisham Abd RahmanSiti Nur Ilyani Ahmad FadzillahNurfharah Farhana Hashimi

ProCUremenT & ConTraCTLogiswary RamanNorhaszilawati Zainudin

hUman reSoUrCe manaGemenT & aDminiSTraTionSharhida SaadMas Arinah HamzahMuknoazlida MukhadzimNik Nurul Nadia Nik AbdullahNor Afidah Nordin

TeChniCal oPeraTionSFiroz Khan Mohd YunusMohd Zamir Mohd IsaShahrul Rizal Mohd AliDayan Erwan MaharalZolkarnain Sarman

malaySian PhilharmoniCorCheSTra

ChieF eXeCUTiVe oFFiCerSareen Risham

General manaGerKhor Chin YangSoraya Mansor

General manaGer'S oFFiCeTimmy Ong

arTiSTiC aDminiSTraTion Khor Chin YangSharon Francis LihanKatherine Tan Jia Yiing

orCheSTra manaGemenTAhmad Muriz Che RoseSharhida SaadFadilah Kamal FrancisShireen Jasin Mokhtar

malaySian PhilharmoniC yoUThorCheSTraYazmin Lim AbdullahFadilah Kamal Francis

mUSiC liBraryOng Li-HueyWong Seong SeongMuhammad Zaid Azzim Mohd Diah

eDUCaTion & oUTreaChShireen Jasin MokhtarShafrin Sabri DEWAN FILHARMONIK PETRONAS – 462692-X MALAYSIAN PHILHARMONIC ORCHESTRA – 463127-H

DEWAN FILHARMONIK PETRONAS – 462692-XMALAYSIAN PHILHARMONIC ORCHESTRA – 463127-H

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