threadsright.blogg.se

A former Minister for Public Works, Cahill shared Sir Eugene’s belief that all people, regardless of their class or background, had the right to enjoy fine music. He said he saw no reason why a city the size of Sydney, with such keen music interest, should not have these.”Īnother key advocate was Joseph Cahill, a railway worker who entered politics and became NSW Premier in 1952. “His ambitions include a fine concert hall for the orchestra, with perfect acoustics and seating accommodation for 3500 people, a home for an opera company and a smaller hall for chamber music.

in Australia there was a challenging situation from which something fine could be created for music, and for the people,” The Sydney Morning Herald reported at the time. Upon his arrival in Sydney, Goossens immediately drew attention to the inadequate facilities. The Sydney Symphony Orchestra, in contrast, performed in the 1889 Sydney Town Hall. Sir Eugene had spent the previous 20 years as the conductor of orchestras in the United States that performed in large, purpose-built halls. After the rupture of war, a newly optimistic nation was looking to define itself.Ī key advocate for a new opera house was English composer Sir Eugene Goossens, who moved to Sydney in 1947 to take up the position of conductor of the Sydney Symphony Orchestra. It was a transformative period for Australia whose economy was rapidly expanding, fuelled by unprecedented levels of post-WWII immigration from Europe.

The idea for a dedicated performing arts centre in Sydney had been discussed for decades, yet it was not until the mid-1950s that it gained enough political traction to become a reality.