NICOLE CAR - au-com-aco-assets.s3.amazonaws.com · Cello Concerto and Haydn’s . London. Symphony...

PRINCIPAL PARTNER

The CryKate Holden and Satu Vänskä

discuss the program

p.12

Belgiorno StradivariusIntroducing the latest addition to

our fine instrument collection

p.22

Me As MeSteve Dow interviews

Nicole Car

p.28

NICOLE CARAPRIL 2018

T A K I N G O F F

C O M I N G H O M E I S N I C E B U T

I S W H E R E T H EE X C I T E M E N T L I V E S

P R I N C I PA L PA R T N E R O F A U S T R A L I A N C H A M B E R

O R C H E S T R A

Welcome to our new look program. Inside you’ll find all your favourite features plus articles that shine a spotlight on our players and the program you are about to hear. Sincerest thanks to those of you who completed our program survey. Enjoy the read.

INSIDE:

The CryKate Holden and Satu Vänskä

discuss the programp.12

‘Belgiorno’ Stradivarius Introducing the latest addition to

our fine instrument collectionp.22

Me As MeSteve Dow interviews

Nicole Car p.28

WelcomeFrom the ACO’s Managing Director

Richard Evansp.3

ProgramListing and

concert timingsp.7

MusiciansPlayers on stage for

this performancep.8

Program in ShortYour five-minute read before lights down

p.34

Libretto TextsOriginal language and

English translationsp.38

ACO NewsKeep up to date with the latest

p.44

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NATIONAL CONCERT SEASON 2018COVER PHOTO. GEORGES ANTONI | PRINTED BY. PLAYBILL PTY LTD

UP NEXT...

APR

ACO Virtual

20 April – 16 JuneMoreeACO Virtual installation at Bank Art Museum Moree, NSW

MAY

ACO in Hobart

13 May Federation Concert HallWe return to Hobart after 20 years to perform our unique take on Vivaldi’s Four Seasons with oud virtuoso Joseph Tawadros.

Penrith Youth Orchestra

20 MayJoan Sutherland Performing Arts CentreACO mentors rehearse and perform with the newly formed PYO, an evolution of our Penrith Strings ensemble. The concert begins with the ACO Ensemble playing movements of their favourite string quartets, followed by the inaugural PYO performance.

ACO in Tokyo

29 & 30 MayYomiuri Otemachi HallThe ACO return to Tokyo after a six-year absence to perform two concerts as part of Australia Now, a celebration of Australian innovation, lifestyle and creativity in Japan.

JUN

Steven Isserlis Plays Shostakovich

23 June – 4 JulyCanberra, Melbourne, Adelaide, Perth and SydneyShostakovich’s monumental First Cello Concerto and Haydn’s London Symphony see Isserlis and the ACO at their sublime best.

ACO in Darwin

16 June Darwin Entertainment CentreAfter a 40-year absence we bring our arrangement of Vivaldi’s Four Seasons to Darwin, once again with oud virtuoso and composer extraordinaire, Joseph Tawadros.

AUG

Goldberg Variations

2 – 16 AugustNewcastle, Canberra, Melbourne, Adelaide, Sydney, Brisbane and Wollongong.

The 2018 season continues.

Nationwide performances, rehearsals and long-awaited returns.

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AUSTRALIAN CHAMBER ORCHESTRA

The 2018 Season continues to build.

It is with great enormous enthusiasm that I welcome Nicole Car for her much-anticipated ACO debut. The Melbourne-born soprano has risen to great heights, with critically acclaimed performances in London, Paris and North America that have revealed her to be a true once-in-a-generation artist. We are very fortunate to experience her at this early stage in her career.

The ACO is fortunate to have patrons all over the country who share our unwavering commitment to artistic excellence, and we are very grateful to Robert Albert ao and Libby Albert for their generous support of this national tour.

This tour also marks the debut of the ACO’s newest member, the 1726 ‘Belgiorno’ Stradivarius, when our Principal Violin Satu Vänskä leads Beethoven’s wonderful Romance in F major.

I hope you enjoy the performance.

Richard EvansManaging Director

Join the conversation #ACO18

WELCOME3

NATIONAL CONCERT SEASON 2018


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Ludwig van Beethoven, Letter to the Immortal Beloved

July 6, 1812.


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STEVEN ISSERLIS PLAYS SHOSTAKOVICH

“...his intensity, his technical mastery are thrilling” – THE TELEGRAPH

Shostakovich’s First Cello Concerto and Haydn’s London Symphony see Isserlis and the ACO at their sublime best, coupled with two exciting world premieres from American composer Samuel Adams and Australia’s own Elena Kats-Chernin.

Richard Tognetti Director & ViolinSteven Isserlis Cello

23 JUNE – 4 JULYCanberra, Melbourne, Adelaide, Perth, Sydney

Tickets from $49*

*Booking fee of $7.50 applies. Prices vary according to venue and reserve.

PRINCIPAL PARTNERGOVERNMENT PARTNERS

NATIONAL TOUR PARTNER

THE PROGRAM

Richard Tognetti Director and Violin

Nicole Car Soprano

Satu Vänskä Violin

Australian Chamber Orchestra

Tour Supported by Robert Albert ao & Libby Albert.

PRE-CONCERT TALK 45 mins prior to the performance mins See page 42 for details

HANDEL Overture and Dances from Alcina, HWV34 11 MOZART Allegro from Symphony No.27 in G major, K.199 6 MOZART Basta, vincesti – Ah non lasciarmi, no, K.486a 6 BEETHOVEN Romance No.2 in F major, Op.50 7 BEETHOVEN Ah! perfido, Op.65 13

INTERVAL 20

HILDEGARD Ave Maria, O auctrix vite 4 VERDI Ave Maria from Otello 4 PUCCINI (arr. strings) Crisantemi 7 MOZART Misera, dove son! – Ah! non son io che parlo, K.369 6 MOZART Andantino grazioso and Presto from Symphony No.27 in G major, K.199 15 MOZART Chi sà, chi sà, qual sia, K.582 3

The concert will last approximately two hours, including a 20-minute interval. The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

ACO concerts are regularly broadcast on ABC Classic FM. Nicole Car will broadcast LIVE from Hamer Hall Melbourne on Sunday 22 April at 2.30pm.

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Glenn Christensen Violin

“Playing music is when I feel most alive. I love the joy of trying to create and communicate this, and the freedom of self-expression.”

Glenn plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Terry Campbell ao & Christine Campbell.

Aiko GotoViolin

“Music gives me joy and has helped me in my life. I always enjoy the opportunity to share music with family, friends, and all music-lovers!”

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

Satu Vänskä Principal Violin

“The world is ever rotating and there is little meaning except for music. It’s a novel pursuit in many ways, but for me it sets the standard for everything.”

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis. Her Chair is sponsored by Kay Bryan.

Richard Tognetti Director and Violin

“I’ve been with the ACO for half my life. And this is what I know: it’s all about the upbeat and the out breath. Some think it’s science but it’s more like religion – all these different personalities and talents coalescing to create a moment in time. And it’s our job to bring the listener in through our portal. A numinous moment when, hopefully, we can make time stand still.”

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise & Martyn Myer ao, Andrew & Andrea Roberts.

Nicole Car Soprano

“What I admire most about the ACO is that not only is Richard Tognetti an incredible violinist and leader, but the entire orchestra is comprised of these amazing soloists who come together to form this virtuosic ensemble. To have the chance to perform onstage with an ensemble like the ACO, where there is a real dialogue between the singer and orchestra, is a really exciting collaboration that I can’t wait to be a part of.”

The musicians on stage for this performance.

MUSICIANS


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PLAYERS DRESSED BY SABA

Maja Savnik Violin

“My mum always tells me being a musician is the most pure profession; it does nothing but bring happiness and pleasure to our listeners, even if only for a moment.”

Maja plays the ‘ex-Isolde Menges’, a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. Her Chair is sponsored by Alenka Tindale.

Ike SeeViolin

“For me, music is warmth; it’s a means of connecting with people on and off the stage. It ties us all together.”

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Melissa BarnardCello

“I grew up surrounded by music – opera, oratorios, chamber music – and dance, so it mostly just felt like a natural thing to play and to practise. I love the purity and absolute honesty of being on stage. Sometimes it feels totally physical and at other times otherworldly, like you can just disappear into an ephemeral realm.”

Melissa plays a cello by Jean-Baptiste Vuillaume made in 1846 and her Chair is sponsored by Dr & Mrs J. Wenderoth.

Julian ThompsonCello

“Music is a universal language – to some degree we are all affected by its spell. Music is uniquely able to express the inexpressible.”

Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao. His Chair is sponsored by The Grist & Stewart Families.

Maxime Bibeau Principal Bass

“One of the most exciting aspects of music-making to me is associating ourselves with some of the world’s most imaginative composers. We explore, create and bring new works of the highest calibre to life, not only for the audiences of today, but for musicians and audiences of the future.”

Max plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by Darin Cooper Foundation.

Ilya IsakovichViolin

“Since my first orchestral experience as a schoolboy, I was captivated by the magic of creating music collectively. I knew immediately this was my destiny.”

Ilya plays his own 1600 Marcin Groblicz violin made in Poland. His Chair is sponsored by The Humanity Foundation.

Liisa Pallandi Violin

“I love that music can be at once communal and intensely personal. It’s a tough career – you have to be both vulnerable and dauntless – but I wouldn’t want to be anywhere else.”

Liisa currently plays Helena Rathbone’s violin which is a Giovanni Battista Gabrielli c.1760. Her Chair is sponsored by The Melbourne Medical Syndicate.

Discover more

Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at:

aco.com.au

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NATIONAL CONCERT SEASON 2018PHOTOS. BEN SULLIVAN

Musician Spotlight

Born in Sydney, Australia, Liisa Pallandi joined the ACO in 2015 after being an ACO Emerging Artist.

“I lived with two sopranos back in the day, so it’s fair to say my love for opera could have taken a dark turn... If it had, Nicole Car would surely be the soprano to cure me. I hope you enjoy her incredible artistry!”

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AUSTRALIAN CHAMBER ORCHESTRA PLAYERS DRESSED BY SABA

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MUSICIANS

Thibaud Pavlovic-Hobba Violin

Benjamin AdlerViolin

Florian Peelman# Viola

Chair sponsored by peckvonhartel architects

Caroline Henbest Viola

Thomas ChawnerViola

Joel Laakso# Cello

Courtesy of The Royal Danish Orchestra

Sally Walker# Flute

Courtesy of The Conservatorium, University of Newcastle

Andrew Macleod Flute

Courtesy of Melbourne Symphony Orchestra

Olli Leppäniemi# Clarinet

Courtesy of Turku Philharmonic Orchestra

Alexei Dupressoir Clarinet

Jane Gower# Bassoon

Courtesy of Orchestre Révolutionnaire et Romantique

Simone Walters Bassoon

Ben Jacks# Horn

Courtesy of Sydney Symphony Orchestra

Jennifer McLeod-Sneyd Horn

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NATIONAL CONCERT SEASON 2018# GUEST PRINCIPAL


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There is a woman on stage, communicating with us. She is betrayed; she is grieving; the arm

sweeps in a familiar gesture, the eyes are raised to heaven, the head bows in graceful surrender. It is a code. We understand. We grieve with her.

Program essay by Kate Holden, in conversation with Principal Violin Satu Vänskä.

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NATIONAL CONCERT SEASON 2018PHOTO. NIC WALKER

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We come to hear her cry. This is an evening of lamentations, of

reproaches, of women, abandoned and betrayed, calling out, bemoaning their desolation. “Do you have the heart to betray me?” they sigh. “I will die of grief.”

Australian soprano Nicole Car will be Mozart’s Dido, imploring Aeneas not to leave her; she will be Verdi’s Desdemona, quietly preparing for death. There will be an exquisite voice raised in despair, lowered in sorrow. The gorgeousness of the music will caress its women as they suffer and sing, as they ache and accede. They cry for themselves, for the suffering of other women; they speak of loneliness and agony, of fear of death and of the patience to wait for it; they tell us of men’s perfidy, their jealousy and intrigues. Car will sing of “indignation, jealousy, fear, suspicion, love”. The women characters of this program will lift their voices to share with us their pain and their philosophy. And their resilience.

Among the world’s earliest music is the lament, often for the dead, sometimes for the forlorn self. The “Kulturkreis theories” of 20th-century Austro-German scholars suggested that ritual sounds survive from a prehistoric emotion: the trills, howls and dirges of folk are as ancient as our hurting hearts. The Seikilos epitaph from

Greece, 2000 years old, is the oldest surviving notated piece, and it seems to be a mourning. The Romans paid women to weep, to rend their clothes and keen at a funeral. And the mediaeval world was softened by the planctus, a song of sorrow. If the audience couldn’t understand the Latin words, they heard the sense, the sonorous notes of the world’s grief. People have cried and keened aloud since our beginnings: what is the first utterance of a baby but a sharp cry to be heard and pitied and answered?

There is a woman on stage, communicating with us. She is betrayed; she is grieving; the arm sweeps in a familiar gesture, the eyes are raised to heaven, the head bows in graceful surrender. It is a code. We understand. We grieve with her. The descending ostinato, the formal, solemn tones falling steadily from under her voice: they are steps into shadow that we have taken, too.

Women have forever had to embody the suffering of the world: they are pained for their lovers, husbands, sons, fathers, daughters, friends. They are permitted, at times, to mourn for themselves. From Persephone to Clarissa, wronged women have been made to weep before the gaze of others. The walls of galleries glisten with the tears of heroines. Churches do,

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too. Our spectators’ discomfort is soothed by the sweetness and the familiarity. The distressed subjects seem to pose, to linger. Tragic heroines multiply like raindrops on the stage: Dido is their divine. In the noisy, complicated plots of opera seria since Monteverdi there is almost always room for the hush of a sad woman’s solo: the heroine, the maid, the madwoman, the quiet sister, even Mozart’s Lucilla in Car’s final work of this program, who appears in an otherwise comic opera. We should be grateful, really: from soggy, sniffling misery composers have made the most elegant of forms, the soprano aria, its purity and its grace above the deep notes a lesson to us all on how to behave in agony. A corrective lecture or an inspiring prototype? Tears are wet, but they do shine beautifully.

The opening work in the program is taken from Handel’s opera of 1735, Alcina, and its overture and dances serve tonight as the entrée, as it did to the original opera. We hear no woman’s voice yet, but Alcina is a cruel sorceress, luring men to her island, transforming them spitefully into beasts, then coming undone by falling in love. In her scorn and humiliation she is less magus, more a wretch. Her ignominy makes her simply a woman like us. All this is to come after our Overture and Dances, but keep her in mind, because she is the bitter woman brought low, and we are allowed to pity her.

Following the first movement of Mozart’s Symphony No.27, (which serves as an overture), the first voice we hear is Dido’s. From Virgil’s 2000-year-old recounting, to Purcell’s unforgettable incantation

Top. Gustave Doré’s illustration of Alcina in Ludovico Ariosto’s Orlando Furioso. Above and page 14. Dido reaches out to Aeneas in a mythological painting by Pompeo Batoni (1747).

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Romance gives us a reprieve. Vänskä has not performed this work since her youth in Finland, and is looking forward to revisiting it as a mature artist, a woman more wry, more confident and forgiving than she was. Vänskä is full of sympathy for Beethoven: ugly, in pain, clumsy and bad in society, even before his deafness. He loved women, and she paints a vivid picture of a grimy, dishevelled, hairy man in the street, quietly watching the grace of women, hoping not to repulse them. “I have a feeling his life, his whole life, was translated into music,” Vänskä says. “That’s all he had, the poor fellow.”

So this work is not unhappy, but it is the art of a solitary, saddened soul. It is the work of an artist already on the path to greatness, the work of a young man whose yearning would write, a decade and more later, his famous letter to the “Immortal Beloved”.

Beethoven’s love of women and his sympathy with their distress comes roaring out in the next work, “Ah! perfido”. The piece is a standalone work, from a few years before the composition of the Romance. “He was one of those composers who could do it all,” Vänskä says. “He could do political music. He could write really extreme, dramatic

Tragic heroines multiply like raindrops on the stage: Dido is their Divine. In the noisy, complicated plots of opera seria since Monteverdi there is almost always room for the hush of a sad woman’s solo.

of courage in the face of death, to the bedsit ballads of the modern singer of the same name, Queen Dido has stood bravely for a long time. She is always, now, tipped from her proud throne in ancient Carthage to sing, instead, of a man, Aeneas, who is her undoing. “Enough, you have won,” she sings in the sweet notes of Mozart’s “Basta, vincesti – Ah non lasciarmi, no”: all her virtue and power is helpless, in the end, faced with an ambitious man with a destiny more marvellous than hers. She can only make the most of her moment, wring our hearts: “Ah, do not leave me. Life I would lack...” But he does, and she dies.

And there is silence. Into which steps another woman: Principal Violin Satu Vänskä, bearing on her arm a thing of lovely solace, the 1726 ‘Belgiorno’ Stradivarius, on long-term loan to the ACO and having its public debut in this program. It will give us Beethoven’s Romance for Violin and Orchestra in F major, a work apparently written in the composer’s late 20s, when his hearing was beginning to deteriorate. It was perhaps written on commission, but also served for Beethoven to practice a major work for violin in anticipation of his bravura Violin Concerto in D major of a few years later. The grace of the

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Ludwig van Beethoven, Letter to the Immortal Beloved

July 7, 1812.


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in literature, piously cancelling out the deeds of a more daring Eve. “It seems in a dramatic world that women are perfect mothers or the suffering minx or the James Bond man-eaters who kill everyone and are the evil witches,” Vänskä says, wryly. “Maybe the reality lies somewhere between all of those.”

Hildegard, abbess of a convent, made this work to be sung by nuns, probably to an all-female audience. We hear it performed by strings in this program, and its harmonies suggest restoration, resolution: one woman’s composure will redeem us all, as Mary is the “authoress of life” herself.

Thus, “Hail Mary”, sings Car now as Desdemona in Verdi’s penultimate opera, 1887’s Otello. “Pray for the sinner, for the one who is innocent, and for the weak and oppressed, show thy mercy.” Help the sad ones, the others who suffer, the ones who are silent; pray for us, sings Desdemona, for she has been hurled to the ground by her beloved, “fallen,” as she sings in the opera, “in the foul mud”. She has recalled an abandoned woman who too sang sadly. She knows that Othello will kill her soon, and she has laid out her bridal dress to be buried in. Now she sings her last moments of peace in another “Ave Maria”, and sleeps.

music. He could write beautifully intimate music. He could write music that was apolitical. He could write the big showpiece for the huge orchestra that can entertain a whole nation, but he could also write the most intimate of pieces.”

Dedicated to Countess Josephine Clary-Aldringen, and the only concert aria by Beethoven in the singing canon, it takes us from horror to fury. Car will scorch us with the scorn of Deidamia, a Greek princess raped and seduced by the hero Achilles before the Trojan War. She keeps secrets for him, forgives him; but when he prepares to leave her and their child, she can no longer stay stoic. “Ah! You treacherous, barbaric

traitor, you leave? And is this your last farewell?” Car’s voice swoops and hushes, trembles and croons. Rage turns to spite, spite to distress. So full of feeling, Deidamia is left, in the end, with only a question. “Tell me,” she implores, “if in such a grief I do not deserve pity?”

Pietà: we approach a new radiance now. Golden queens, fragrant princesses, they are the most ripe for ruin. But the greatest queen of sorrows is the Madonna. Pity is her blood, anguish her bones. She pities the world, and consoles it, too. Hildegard of Bingen’s 12th-century “Ave Maria” brings to us the dignity of one of the saddest women

“This might be a little controversial, but you could say that there is something about those female characters, and that female lamenting, that men like to appropriate: that feeling.”

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Puccini’s mournful and yearning Crisantemi follows, before Car returns with, “Misera, dove son! – Ah! non son io che parlo”. A woman at the brink of doom: Fulvia, a Roman maiden beset with rival lovers and imperial intrigues, feels very alone as she prepares to sacrifice herself. “I am in the land of the dead,” she mourns. “The cruel gods have no concern for the anguish I suffer.” Mozart’s works for female singers, Vänskä says, are exceptional. He knew and understood female voices, and enjoyed writing for them.

“This might be a little controversial,” she continues, “but you could say that there is something about those female characters, and that female lamenting, that men like to appropriate: that feeling.” She observes that an abject woman is revered in opera; a man in the same situation is “just a loser”. “In their masculinity they’re not allowed to express it in a similar way – it doesn’t come across as beautifully as when women do it.”

Nevertheless, many a man has taken the opportunity of a darkened opera hall to shed a quiet tear.

So as the ensemble takes us into the wordless beauty of the final two movements of Mozart’s Symphony No.27 in G major reflect on this: the words and settings give us pathos – a pathos we may no longer quite enjoy. But the music was made by different men, who gave the pathetic their voice.

Have they tormented their heroines, made them cry and shudder for our satisfaction? Or have they, perhaps, in fact, given voice to their own unsexed, human intimations of worldly sorrow? Is the beauty they have made of tears a travesty, or the gleaming gift it seems?

The program concludes with a last work by Mozart, who adored women so much. “Chi sà, chi sà, qual sia” was written for the character Lucilla, who appears in an opera by another composer. Mozart gives us a woman in a farce, wondering at her husband’s distraction; we end with this loveliness, but Lucille too is troubled, and she sings of “bitter doubt” and she tells of the very stuff of opera: wrath, jealousy, fear, suspicion, love…

So many women, so many voices raised in dismay, despair, injury. How they’ve suffered, how they have wept. But they will also resist. We may brim a tear for Dido, for Desdemona as she gently prays before her last sleep, but listen to the power of their voices. Listen to them speak for themselves, taking their moment, lingering, not apologising; hear these women insist they be heard, that their feelings are important, that we should hush to hear them. An aria is, after all, a woman raising her voice: raising her voice as high and pure and strong as it may go, releasing it into the air, so we can catch it, and take it with us.

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Diamond Clarity

Kate Holden in conversation with Principal Violin Satu Vänskä.


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And Velvet Heat


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PHOTOGRAPHY. NIC WALKER

“In my hands it’s not an object; it becomes an extension of my own body.”

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The 1726 ‘Belgiorno’ Stradivarius is having its public debut in this

program, as Principal Violin Satu Vänskä plays the ravishing Romance in F major by Beethoven. In fact, audiences may have heard it before. When ACO Chairman Guido Belgiorno-Nettis and his wife, Michelle, began searching for a fine Italian instrument to honour the memory and heritage of his mother, the Orchestra began trialling various candidates from international sellers, who entrusted the precious instruments for the musicians to get used to – and for blind testing. The 1726 violin, an especially fine example of a late Stradivarius, finally came on offer, and was quietly tried in every major Australian concert hall, from City Recital Hall and Hamer Hall, to smaller salons and ABC broadcasts. It passed.

“You don’t feel worthy, of course,” Vänskä says. “But you don’t go straight to an instrument like that. If I’d had this instrument when I was 10 years old, it would have been an insult to the instrument. And I’ve worked very, very hard of course. You get better at what you do … and you also get more intimidated. But as you get older and accept more things, you learn to think, ‘Hey, take it as a blessing, take it as a gift and try to do your best.’”

However much she accepts her fortune, though, the violin is a revelation. “It’s beyond special. I just think that when you have an object that has survived for

so many years, and so many decades, and the history that it has gone through, being able to use it as my tool is just an incredible privilege and an incredible gift to me as a player. I don’t take it for granted. When you have a violin of this calibre, it’s a bit like having all the words in the world that you might want to use. You can do anything.”

As she grows used to the instrument’s temperament, needs and capacity, Vänskä is both protective and captivated. Made when Antonio Stradivari was 82 years old, its range is sublime and its tone carries both diamond-precision clarity and an intimate velvet heat. There’s only one limit, says Vänskä: “The limit of me.” And then: “By the way, the violin has a personality, the violin tells very much what I do. It just has its own way of working, so there’s no point in forcing what it’s not; you have to embrace what it is.”

With such a tool to work with, what does she dream of playing? Raised in Finland, Vänskä nominates the Sibelius Violin Concerto. “I’ve been playing it ever since my youth, so that would be something that the violin would really shine with.”

Meanwhile, she never takes her eyes from her instrument. “In my hands it’s not an object; it becomes an extension of my own body. Like the voice: singers can sing with their own voice and that’s their instrument. The violin is my voice.”

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Performance at the highest level is critical in business and the concert hall.

We are dedicated supporters of both.

Me As

“Mozart is more restrained than Beethoven, but we hear the internal angst in the music. Desperation comes out through not only the words but the music.”

Steve Dow interviews Nicole Car.


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MePHOTOGRAPHY. GEORGES ANTONI

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“So much of the way I sing, and the emotive nature of the voice, needs to have an attachment to the character.”

Car resists, however, an often-quoted comparison between herself and Dame Joan Sutherland.

“I will never sing the same repertoire as her,” she says. “She really brought back a bel canto style. What I do is interpret, and I really like to delve into the pieces dramatically as well as musically. I’m so grateful to sing in these big houses that she and other big singers I idolise sang in. It’s a very flattering comparison, but probably unfair to her.”

In this intimate concert setting with the Australian Chamber Orchestra, her only orchestral performances for 2018, Car will inhabit female characters in arias written by Mozart, Verdi and Beethoven. The experience, Car expects, will be more personally exposing than in the usual opera format, because in concert form, without the stage artifice, she still insists on imagining herself in a role.

“So much of the way I sing, and the emotive nature of the voice, I need to have an attachment to the character in that five- or six-minute aria,” Car says. “You only have a limited time to communicate your character’s trajectory. It’s a much more vulnerable state than

Nicole Car has a theory. The Melbourne-born soprano

has portrayed female suffering in performances across Australia, Europe and North America. Consider Violetta, who perishes from tuberculosis in Verdi’s La traviata. Or Luisa Miller, the titular character who the same composer forces to make bad choices in love, then drink poison and die. Consider, too, faithful Desdemona, whose murder by her faithless partner is invoked in this program, when Car sings her aria “Ave Maria” from Verdi’s Otello in her debut concert with the Australian Chamber Orchestra.

“I think these composers were really early feminists, especially when you look at Verdi and the way he wrote,” she says. “I know it seems weird, because these women meet tragic ends, but they are the strong characters throughout the show, who never lose their faith in God or family or husband or partner.”

At 32, Car is a rising opera star internationally. Her most notable recent roles include the ill-fated Mimi in Richard Jones’ new production of Puccini’s La bohème at Covent Garden, which opened the Royal Opera House’s 2017–18 season.

when you’re in an opera, because you’re not in a costume and a wig, but the audience sees me as me.”

There is more collaboration for a singer with the ACO – sharing the stage in this instance with concert director Richard Tognetti and principal violinist Satu Vänskä – than in an opera, where a conductor directs the tempi, dynamics and who does what when. “I’ll be able to have a say,” Car says, “which will be a great privilege and a great pleasure for me.”

Two of the Mozart arias and the Beethoven aria in this concert share a librettist in Italian poet Pietro Metastasio, whose texts mined Greek and Roman mythology.

Mozart’s “Basta, vincesti – Ah non lasciarmi, no (Ah, do not leave me, no)” sees Dido trying to convince Trojan hero Aeneas that she will die if he departs, for she cannot live with such suffering. “Mozart is more restrained than Beethoven, but we hear the internal angst in the music,” Car says. “Desperation comes out through not only the words but the music.”

Smooth note transitions in Mozart’s “Misera, dove son! – Ah! non son io che parlo” are juxtaposed with the drama of Fulvia singing of grief driving her mad, calling for a thunderbolt from heaven. “As far as the character goes, it’s the most dramatic. But, interestingly enough, it’s the most legato piece,” Car says. “That’s the genius of Mozart; he’s writing beautiful legato lines when Fulvia is so tormented.”

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Top. Nicole Car. Photo by Georges Antoni. Above. Nicole Car in Tchaikovsky’s Eugene Onegin.

the year requires a revolving mix of cities. Car’s first solo album, The Kiss, her eclectic playlist of 19th-century arias, debuted at No.1 on the ARIA classical chart in 2016, and she’s planning the follow-up, to be released in 2019, with French chansons set to piano.

Growing up, Car would listen to jazz greats Sarah Vaughan, Ella Fitzgerald and Nina Simone. She did not particularly listen to classical music

until she was 17, when she had the epiphany of seeing Deborah Riedel perform Tosca at the Arts Centre Melbourne. While she has no idea from whom she gets her singing genes – “I am an absolute anomaly in my family” – her father, Jack, and mother, Monica, are now “huge” classical music fans.

“Whenever we go anywhere,” Car says, “they’re like, ‘What’s on, what can we go and see?’”

Beyond opera, she is still known to trill a little jazz on her days off.

“Whenever I have an apartment with a piano, it’s a great way to relax,” she says. “I really like singing and playing different things for Noah. He gets a cute little smile on his face when Mum starts singing.”

“What I do is interpret, and I really like to delve into the pieces dramatically as well as musically.”

Beethoven’s “Ah! perfido (Ah! deceiver)” is one of the composer’s relatively few forays into vocal operatic music. Here is a woman dressing down her “barbarous betrayer” over his intended farewell, rather than pleading for him to stay.

“It’s like Beethoven was influenced by other operas he heard around and wanted to dabble a bit,” Car says. “It’s very strongly written and is not for a particularly light soprano. You can really sink your teeth into it dramatically.”

Car wonders if Beethoven had planned to put the aria into an opera that was never to be.

There seems little risk Car will face a wistful “What if?” moment. She and her husband, Etienne Dupuis, a Canadian-born baritone she met when they were cast together in Eugene Onegin at the Deutsche Oper Berlin, share a perfectionist work ethic, leavened with similar senses of humour. The pair will make their Metropolitan Opera debuts in New York later in 2018, performing together in La bohème, and have been cast together in a new Don Giovanni at the Palais Garnier in Paris in 2019.

The couple and their first child, Noah, who was born in February last year, might this year spend two or three months living in Paris, but the rest of

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PROGRAM IN SHORTYour five-minute read before lights down


34

George Frideric Handel (1685 – 1759)Overture and Dances from Alcina, HWV34

Handel’s opera premiered on 16 April 1735 and was written for his first season at the Theatre Royal in Covent Garden, London.

Based on Ludovico Ariosto’s epic poem Orlando furioso, Alcina is a cruel sorceress who lures men to her island and transforms them into beasts.

Wolfgang Amadeus Mozart (1756 – 1791)Symphony No.27 in G major, K.199

Written in 1773, this symphony is one of four Mozart composed after returning to Salzburg following performances of his opera Lucio Silla in Milan.

It is influenced by the Italian style following the pre-Haydn, Italian overture format of three movements, as in Handel’s overture to Alcina.

This symphony will be broken up over both halves of the concert.

Basta, vincesti – Ah non lasciarmi, no, K.386a

A concert aria written in 1773 for the German soprano Dorothea Wendling, for whom Mozart wrote the role of Ilia in Idomeneo.

“Basta, vincesti – Ah non lasciarmi, no” (“Ah do not leave me, no”) sees Dido trying to convince the Trojan hero Aeneas that she will die if he departs, for she cannot live with such suffering.

The librettist is the Italian poet Pietro Metastasio, whose texts were heavily inspired by Greek and Roman mythology.

Misera, dove son! – Ah! non son io che parlo, K.369

A concert aria written in 1781 to a libretto by Pietro Metastasio.

Fulvia is a Roman maiden beset with rival lovers and imperial intrigues. Faced with the prospect of marrying someone she does not love and acknowledging her father as a traitor, she feels alone and prepares to sacrifice herself.

Chi sà, chi sà, qual sia, K.582

Written in 1789 to a libretto by Mozart’s great collaborator Lorenzo Da Ponte, who wrote the libretto for three of Mozart’s greatest operas – Don Giovanni, The Marriage of Figaro and Così fan tutte.

In this aria Lucilla wonders at her suitor’s surly indifference to her and sings of her own bitter doubt.

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Ludwig van Beethoven (1770 – 1827)Romance for Violin and Orchestra in F major, Op.50

Billed as Beethoven’s second Romance, the F major Romance is actually his first, written in 1798 but not published until 1805.

Beethoven was in his late 20s at the time, coming to terms with the deterioration of his hearing.

Other works from this period include his Moonlight Sonata, Second Symphony and the concert aria Ah! perfido also in this program.

Principal Violin Satu Vänskä takes the spotlight with the 1726 ‘Belgiorno’ Stradivarius.

Ah! perfido, Op.65

“Ah! deceiver” is Beethoven’s only published concert aria and one of just a few forays into vocal operatic music.

Deidamia is a Greek princess dressing down her “barbarous betrayer” Achilles over his intended farewell.

Hildegard von Bingen (1098 – 1179)Ave Maria, O auctrix vite

Hildegard was a Benedictine abbess who lived and worked in various monasteries in the Rhineland.

She is one of the earliest named composers in Western music but

was much more than a composer.

Hildegard is one of the great polymaths in human history, renowned as a prophet, visionary and healer, and wrote books on theology, biology, botany and medicine.

In her Ave Maria Hildegard portrays the Virgin Mother as healer of a world broken by its first mother, Eve.

Giuseppe Verdi (1813 – 1901)Ave Maria from Otello

Based on Shakespeare’s play, Otello premiered at the Teatro alla Scala, Milan in 1887.

The Ave Maria sees Desdemona deep in prayer, placing her trust in the Virgin Mary and praying for all people who suffer as much as she does.

Giacomo Puccini (1858 – 1924)Crisantemi (Chrysanthemums)

Puccini wrote Crisantemi in a single night in 1890 upon hearing of the death of his friend the Duke of Savoy.

Originally written for string quartet, like Barber’s Adagio for Strings from our last tour, it is more widely accepted as an arrangement for string orchestra.

Puccini re-used two melodic themes from Crisantemi in the last act of his opera Manon Lescaut.

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Celebrating 30 years of partnershipThis year marks 30 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra, the cornerstone of which has been this rare Guadagnini violin, handmade in 1759.

We are delighted to be able to share this special instrument with audiences across Australia, played by Helena Rathbone, the ACO’s Principal Violin.

LIBRETTO TEXTSOriginal language and English translations


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MOZART Basta, vincesti – Ah non lasciarmi, no, K.486a

Basta, vincesti; eccoti il foglio.Vedi quanto t’adoro ancora ingrato.Con un tuo sguardo solo mi togli ogni difesae mi disarmi; ed hai cor di tradirmi, e poi lasciarmi?Ah non lasciarmi, no, bell’idol mio,di chi mi fiderò, se tu m’inganni?Ah non lasciarmi, no, ah no, non lasciarmi,di chi mi fiderò, se tu m’inganni?Di vita mancherei nel dirti: addio,che viver non potrei fra tanti affanni!

That’s it, you’ve won; here’s the letter.See how much I still adore you, you ingrate!With just one look you break through all my defensesAnd leave me helpless; and you’ve got the heart o betray me and then leave me?Ah don’t leave me, no, my beautiful love,who can I trust, if you deceive me?Ah, don’t leave me, no, my beautiful love,who can I trust, if you deceive me?Saying goodbye to you would kill mebecause I couldn’t live with so much pain!

BEETHOVEN Ah! perfido, Op.65

Ah! perfido, spergiuro,Barbaro traditor, tu parti?E son questi gl’ultimi tuoi congedi?Ove s’intese tirannia più crudel?Va, scellerato! va, pur fuggi da me,L’ira de’ Numi non fuggirai.Se v’è giustizia in ciel, se v’è pietà,Congiureranno a gara tutti a punirti!Ombra seguace, presente, ovunque vai,Vedrò le mie vendette;Io già le godo immaginando;I fulmini ti veggo già balenar d’intorno.Ah no! fermate, vindici Dei!Risparmiate quel cor, ferite il mio!S’ei non è più qual era, son io qual fui;Per lui vivea, voglio morir per lui!Per pietà, non dirmi addio,Di te priva che farò?

Ah! You treacherous, faithless,barbaric traitor, you leave?And is this your last farewell?Where did one hear of a crueller tyranny?Go, despicable man! Go, flee from me!You won’t flee from the wrath of the gods.If there is justice in heaven, if there is pity,All will join forces in a contest to punish you!I follow your trail. I am wherever you go,I will live to see my revenge;I already take my delight in it in my imagination;I already see you surrounded by flashes of lightning.Alas! Pause, avenging gods!Spare that heart, wound mine!If he is not what he was, I am still what I was;For him I lived, for him I want to die!Have mercy, don’t bid me farewell,What shall I do without you?

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Tu lo sai, bell’idol mio!Io d’affanno morirò.Ah crudel! Tu vuoi ch’io mora! Tu non hai pietà di me?Perchè rendi a chi t’adoraCosì barbara mercè?Dite voi, se in tanto affannoNon son degna di pietà?

You know it, my beloved idol!I will die of grief.Ah, cruel man! You want me to die!Don’t you have pity on me?Why do you reward the one who adores youin such a barbaric way?Tell me, if in such a griefI do not deserve pity?

MOZART Misera, dove son! – Ah! non son io che parlo, K.369

Misera, dove son! L’aure del Tebro son questech’io respiro? Per le strade m’aggirodi Tebe e d’Argo? O dalle greche sponde,di tragedie feconde, le domestiche furievennero a questi lidi, della proledi Cadmo, e degli Atridi?Là d’un monarca ingiusto l’ingratacrudeltà m’empie d’orrore:d’un padre traditore quala colpa m’agghiaccia; elo sposo innocente ho sempre in faccia.Oh immagini funeste! Oh memorie! Oh martiro!Ed io parlo, infelice, ed io respiro? Ah no!Ah! non son io che parlo, è il barbarodolore che mi divide il core, che delirar mi fa.Non cura il ciel tiranno l’affanno,in cui mi vedo: un fulmine gli chiedo, eun fulmine non ha.

Oh woe is me, where am I? Are these the mists of the Tiberthat I’m breathing? Am I wandering the streetsof Thebes and Argo? Or from Greek shoresbursting with tragedies, did the Furies of my homelandcome to the lands of the children of Cadmus and Atreus?There, the unwarranted cruelty of an unjust rulerfills me with horror:Here, the guilt of a treacherous father,makes my blood run cold andI constantly see before me my innocent husband.Oh, death-filled images! Oh, memories! Oh, pain and torment!Can I speak, in my sadness, or can I breathe? Oh no!Oh! It’s not me speaking, it’s this brutal sorrow that breaks my heart, driving me crazy.The cold distant heavens don’t careabout my suffering: I pray for a thunderbolt (to strike me down),but there’s only silence.

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VERDI Ave Maria from Otello

MOZART Chi sà, chi sà, qual sia, K.582

Ave Maria piena di grazia, elettaFra le spose e le vergini sei tu,Sia benedetto il frutto, o benedetta,Di tue materne viscere, Gesù.Prega per chi adorando a te si prostra,Prega pel peccator, per l’innocente,E pel debole oppresso e pel possente,Misero anch’esso, tua pietà dimostra.Prega per chi sotto l’oltraggio piegaLa fronte e sotto la malvagia sorte;Per noi, per noi tu prega, prega,Sempre e nell’ora della morte nostra,Prega per noi, prega per noi, prega.Ave Maria…Nell’ora della morte.Ave! … Amen!

Chi sà, chi sà, qual sia l’affanno del mio bene,se sdegno, gelosia, timor, sospetto, amor.Voi che sapete, o dei i puri affetti miei,voi questo dubbio amaro toglietemi dal cor.

Translations provided by:

Raff Wilson, Symphony Australia 2005 (Beethoven), Rebecca Burstein (Verdi) and Matthew Absalom 2018 (Mozart).

Hail Mary full of grace, chosenamong wives and maidens art thou,blessed be the fruit, o blessed one,of thy womb, Jesus.Pray for the one who kneels in prayer before you, pray for the sinner, for the one who is innocent,and for the weak and oppressed, and for the mighty, also wretched, show thy mercy.Pray for the one who bows his head under injustice and under misfortune;for us, pray thou for us, pray,ever and in the hour of our death,pray for us, pray for us, pray.Hail Mary…in the hour of our death.Hail! … Amen!

Who knows, who knows what’s upsetting my lover?Is it rage, jealousy, fear, suspicion, love?O Gods above, you who know that my feelings are pure,banish this bitter doubt from my heart!

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ARTS CENTRE MELBOURNEPO Box 7585, St Kilda Road, Melbourne VIC 8004

Telephone (03) 9281 8000Box Office 1300 182 183Web artscentremelbourne.com.au

James MacKenzie President Victorian Arts Centre TrustClaire Spencer Chief Executive Officer

CITY RECITAL HALL LIMITED2–12 Angel Place, Sydney NSW 2000

Administration (02) 9231 9000Box Office (02) 8256 2222Web cityrecitalhall.com

Renata Kaldor ao Chair, Board of DirectorsElaine Chia CEO

PERTH CONCERT HALL5 St Georges Terrace,Perth WA 6000PO Box 3041, East Perth WA 6892

Telephone (08) 9231 9900Web perthconcerthall.com.au

Brendon Ellmer General Manager

QUEENSLAND PERFORMING ARTS CENTRECultural Precinct, Cnr Grey & Melbourne Street,South Bank QLD 4101PO Box 3567, South Bank QLD 4101

Telephone (07) 3840 7444Box Office 131 246Web qpac.com.au

Professor Peter Coaldrake ao ChairJohn Kotzas Chief Executive

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111Box Office (02) 9250 7777Email [email protected] sydneyoperahouse.com

Nicholas Moore Chair, Sydney Opera House TrustLouise Herron am Chief Executive Officer

In case of emergencies…Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

Venue Support

Sydney Opera House

Sun 8 April, 1.15pm

City Recital Hall, Sydney

Sat 14 April, 6.15pm Wed 18 April, 6.15pm Fri 20 April, 12.45pm Tue 24 April, 7.15pm

Arts Centre Melbourne

Mon 9 April, 6.45pm Sun 22 April, 1.45pm

Perth Concert Hall

Wed 11 April, 6.45pm

QPAC, Brisbane

Mon 16 April, 6.15pm

Pre-concert speakers are subject to change.

Pre-Concert TalksBy Anna Melville, Artistic Administrator of the ACO

Pre-concert talks will take place 45 minutes before the start of every concert.

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Jonny Greenwood Water; Mozart Night MusicThe first Australian-produced classical vinyl in 20 years

Mountain: Original Motion Picture SoundtrackMusic from the acclaimed film

Bach | Beethoven: FugueGramophone Magazine Editor’s Choice

Celebrating 40 YearsPerformances spanning the ACO’s history, from Bach to Sculthorpe

Mozart’s Last Symphonies “dramatic and enlivening more than any performances I have heard of these works for many years” BBC MUSIC MAGAZINE

Available now from ABC ClassicsMany of these albums are available in the foyer after this concert.

Also available from ABC Shop Online, all good music stores, and for digital download and streaming.

Nicole will be pleased to sign copies of her album after many of the concerts on this tour. Please check signage in the foyer.

Opera Choice BBC MUSIC MAGAZINE

“a lovely lyrical soprano, full of dewy freshness” GRAMOPHONE MAGAZINE

Nominated, ARIA Award BEST CLASSICAL ALBUM

Recording of the Month LIMELIGHT MAGAZINE

Nicole Car ‘The Kiss’Music by Verdi, Puccini, Tchaikovsky and more

Available Recordings

TarraWarra Festival 2018 Subscriber WinnerOur lucky winner of the 2018 Subscriber prize was Jill Uhr. She won a weekend away to our TarraWarra Festival at the TarraWarra Art Museum in the Yarra Valley in February. This is what she had to say about her experience:

My selection as the lucky recipient to be given the opportunity to attend the TarraWarra Festival came as a complete surprise to me. I had been to the Yarra Valley before but not for many years and an ACO concert is always a joy.

The TarraWarra Art Gallery [in which the concerts are held] and restaurant are beautifully sized overlooking the vines and on down the Valley.

And now to the most important events – the concerts. We were given a rich variety from Baroque to the 21st century by the always inspiring musicians of the ACO. It was especially rewarding to be present at the Sunday morning masterclass with aspiring string players from ANAM. What a feast for the ears – amidst the art works of the Tarrawarra Museum of Art.

Thank you ACO.

Pekka Kuusisto and ACO Collective return home after their tour of Western Australia, our Medici Patrons enjoy an exclusive performance at Richard and Satu’s house, and our 2018 Subscriber prize winner reports back on her weekend with the ACO in the Yarra Valley.

ACO NEWS


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brilliant classical works ever written, The Lark Ascending, joined by works by Purcell and Britten and a new work by Australian composer Cyrus Meurant. During the tour, the Orchestra connected with local school students by delivering orchestral workshops and schools’ concerts.

"It was such an incredible performance! I loved the music choices at the beginning, and the story that was told was so touching, with the different pieces of music adding to the tale. You did such a wonderful job. Thank you for coming to Geraldton, this performance will certainly stay with me for the rest of my life."

Penny Watt, Student, Nagle Catholic College

ACO Collective On TourSupported by our Principal Partner for ACO Collective, Wesfarmers Arts.

For its first performance season of 2018, ACO Collective travelled more than 1,600km across Western Australia, led by ACO Collective’s Artistic Director, Pekka Kuusisto. The Orchestra performed one of the most popular, poignantly

Medici DinnerLast month Richard and Satu generously opened their home for a very special performance and dinner to thank our Medici Patrons for their invaluable support of the Orchestra.

In the time-honoured fashion of the great Medici family, our Medici Patrons support individual players’ Chairs and help us attract and retain the very best musicians.

A huge thank you to Richard and Satu for their hospitality, to Mark White and his team at Katering, Champagne Taittinger, Peter Lehmann Wines and Poho Flowers. And of course, thank you to our Medici Patrons for their invaluable support.

Photo: Judy Crawford, Robert Albert ao, Ruth McMullin

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BoardGuido Belgiorno-Nettis amChairmanLiz LewinDeputyBill BestJohn Borghetti aoJudy CrawfordJohn KenchAnthony LeeMartyn Myer aoJames OstroburskiCarol Schwartz amJulie SteinerJohn TabernerNina WaltonSimon Yeo

Artistic DirectorRichard Tognetti ao

Administrative Staff Executive OfficeRichard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

Katie HeneberyExecutive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Artistic OperationsLuke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

EducationVicki NortonEducation Manager

Caitlin GilmourEmerging Artists and Education Coordinator

FinanceFiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

DevelopmentAnna McPhersonDirector of Corporate Partnerships

Jill ColvinDirector of Philanthropy

Tom TanseyEvents & Special Projects Manager

Penny CooperCorporate Partnerships Manager

Sarah MorrisbyPhilanthropy Manager

Sally CrawfordPatrons Manager

Lillian ArmitageCapital Campaign Manager

Yeehwan YeohInvestor Relations Manager

Camille ComtatCorporate Partnerships Executive

Kay-Yin TeohCorporate Partnerships Administrator

MarketingAntonia FarrugiaDirector of Marketing

Caitlin BenetatosCommunications Manager

Rory O’MaleyDigital Marketing Manager

Christie BrewsterLead Creative

Cristina MaldonadoCRM and Marketing Executive

Shane ChoiMarketing Coordinator

Colin TaylorTicketing Sales & Operations Manager

Dean WatsonCustomer Relations & Access Manager

Christina HollandOffice Administrator

Robin HallArchival Administrator

Australian Chamber OrchestraABN 45 001 335 182Australian Chamber OrchestraPty Ltd is a not-for-profit companyregistered in NSW.

In PersonOpera Quays, 2 East Circular Quay,Sydney NSW 2000

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the scenes46


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PERFORMANCE

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a world-class performance.

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BOOKINGS OR ENQUIRIES

SUBTERRANEAN BAR & GRILL

/GPOGrand @GPOGrand GPO OYSTER BAR SOSUMI SUSHI TRAIN

GPO PIZZA BY WOODCRYSTAL BAR BURGER

ACO Medici Program

Medici PatronThe late Amina Belgiorno-Nettis

Principal Chairs

Richard Tognetti aoArtistic Director & Lead ViolinWendy EdwardsPeter & Ruth McMullinLouise & Martyn Myer aoAndrew & Andrea Roberts

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

Core Chairs

VIOLIN

Glenn ChristensenTerry Campbell ao & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenJulie Steiner & Judyth Sachs

Ilya IsakovichThe Humanity Foundation

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLA

Ripieno ViolaPhilip Bacon am

Nicole DivallIan Lansdown

CELLO

Melissa BarnardDr & Mrs J. Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO Collective

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

Guest Chairs

Brian NixonPrincipal TimpaniMr Robert Albert ao & Mrs Libby Albert

Friends of MediciMr R. Bruce Corlett am &Mrs Annie Corlett am

ACO Life Patrons

IBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno-Nettis amMrs Barbara Blackman ao

Mrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonThe late John Harvey ao

Mrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao

ACO Bequest Patrons

The ACO would like to thank the following people, who remembered the Orchestra in their wills. Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

The late Charles Ross AdamsonThe late Kerstin Lillemor AndersenThe late Mrs Sybil BaerThe late Prof. Janet Carr

The late Mrs Moya CraneThe late Colin EnderbyThe late Neil Patrick GilliesThe late John Nigel Holman

The late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oamThe late Shirley Miller

Acknowledgments48


ACO Continuo Circle

The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835 for more information. Every gift makes a difference.

Steven BardyRuth BellDavid BeswickDr Catherine Brown-Watt & Mr Derek WattSandra CassellMrs Sandra DentPeter EvansCarol Farlow

Suzanne GleesonLachie HillDavid & Sue HobbsPenelope HughesToni Kilsby & Mark McDonaldMrs Judy LeeJohn MitchellSelwyn M OwenMichael Ryan & Wendy Mead

Ian & Joan ScottCheri StevensonLeslie C. ThiessNgaire TurnerG C & R WeirMargaret & Ron WrightMark YoungAnonymous (16)

ACO Reconciliation Circle

Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803

Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce FoundationSam Ricketson & Rosie Ayton

ACO Excellence Fund Patrons

ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on (02) 8274 3830.

Dr Jane CookRobert & Jennifer GavshonCarole A.P. GraceRohan HaslamMike & Stephanie Hutchinson

Geoff & Denise IllingMegan LoweBaillieu Myer acDavid ShannonJ Skinner

Kim & Keith SpenceChristina Scala & David StuddyMike ThompsonDr Jason WenderothAnonymous (3)

ACO Next

ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on (02) 8274 3830.

MembersClare Ainsworth HerschellAdrian BarrettMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAmy DenmeadeJenni Deslandes & Hugh MorrowAnthony Frith & Amanda Lucas-FrithShevi de SoysaRebecca Gilsenan & Grant MarjoribanksJames HamiltonRuth KellyEvan Lawson

Aaron Levine & Daniela GavshonRoyston LimGabriel LopataRachael McVeanCarina MartinPat MillerBarry MowszowskiLucy MyerJames OstroburskiNicole Pedler & Henry DurackKristian PithieMichael RadovnikovicJessica ReadRob Clark & Daniel Richardson

Alexandra RidoutEmile & Caroline ShermanTom SmythMichael SouthwellTom StackHelen TelferMax TobinKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (2)

49


ACO Instrument Fund

The ACO’s Instrument Fund offers patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the ‘ex-Isolde Menges’ 1714 Joseph Guarnerius filius Andreæ violin and the ‘ex-Fleming’ 1616 Brothers Amati Cello. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.

PatronPeter Weiss ao

BoardBill Best (Chairman)Jessica BlockJohn Leece amJulie SteinerJohn Taberner

Patrons

VISIONARY $1M+Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999The late Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000 – $199,999John Taberner

QUARTET $50,000 – $99,999John Leece am & Anne LeeceAnonymous (1)

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999Leslie C. ThiessAnonymous (1)

SOLO $5,000 – $9,999

PATRON $500 – $4,999In memory of Lindsay ClelandMerilyn & David HoworthLuana & Kelvin KingJohn Landers & Linda SweenyBronwyn & Andrew LumsdenPeter McGovernJohn & Virginia RichardsonPeter & Victoria ShorthouseRobyn TamkeAnonymous (2)

InvestorsStephen & Sophie AllenJohn & Deborah BalderstoneGuido & Michelle Belgiorno-NettisBill Best

Benjamin BradySam Burshtein & Galina KasekoCarla Zampatti FoundationSally CollierMichael Cowen & Sharon NathaniMarco D’OrsognaDr William DowneyGarry & Susan FarrellGammell FamilyDaniel & Helen GauchatEdward GilmartinTom & Julie GoudkampLaura Hartley & Stuart MoffatPhilip HartogPeter & Helen HearlBrendan HopkinsAngus & Sarah JamesPaul & Felicity JensenDaniel & Jacqueline PhillipsRyan Cooper Family FoundationAndrew & Philippa StevensDr Lesley TreleavenThe late Ian Wallace & Kay FreedmanMedia Super

ACO Special Projects

Special Commissions PatronsPeter & Cathy AirdJosephine Kay & Ian BredanMirek GenerowiczAnthony & Conny HarrisRohan HaslamLionel & Judy KingBruce LaneDavid & Sandy LiblingRobert & Nancy PallinTeam SchmoopyRebecca Zoppetti Laubi

International Tour PatronsThe ACO would like to pay tribute to the following donors who support our international touring activities:

Linda & Graeme BeveridgeAnthony & Sharon Lee FoundationProfessor Anne Kelso aoBruce & Jenny LaneDelysia LawsonFriends of Jon & Caro StewartMike ThompsonOliver WaltonAnonymous (1)

Jewish Museum Patrons

LEAD PATRON

PATRONSMarc Besen ac & Eva Besen ao

SUPPORTERSThe Ostroburski FamilyJulie Steiner

FRIENDLeo & Mina Fink Fund

Emanuel Synagogue Patrons

CORPORATE PARTNERSAdina Apartment HotelsMeriton Group

LEAD PATRONThe Narev Family

PATRONSDavid Gonski acLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

ACO UK Supporters

AMBASSADORSBrendan & Bee HopkinsRupert Thomas & Kate Rittson-Thomas

FRIENDSJohn ColesJohn & Kate CorcoranHugo & Julia HeathDr Caroline LawrensonJohn TabernerPatricia ThomasPaula Bopf & Rob Rankin

SUPPORTERIsla Baring

ACO Academy

LEAD PATRONSLouise & Martyn Myer ao

PATRONSPeter Jopling am qcWalter Barda & Thomas O’Neill

SUPPORTERHilary Goodson

50


ACO Special Projects

ACO Mountain Producers’ SyndicateThe Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain:

EXECUTIVE PRODUCERMartyn Myer ao

MAJOR PRODUCERSJanet Holmes à Court acWarwick & Ann Johnson

PRODUCERSRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla GillJohn & Lisa Kench

Charlie & Olivia LanchesterRob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SUPPORTERSAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth GoodyearPhil & Rosie Harkness

Peter & Janette KendallAndy Myer & Kerry GardnerSid & Fiona MyerAllan Myers acThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams amPeter & Susan Yates

European Tour PatronsPhilippa & John ArmfieldWalter Barda & Thomas O’NeillSteven Bardy & Andrew PattersonChris & Katrina BarterRussell & Yasmin BaskervilleDavid Bohnett & Maria BockmannPaula Bopf & Robert RankinPaul BorrudCraig & Nerida CaesarTerry Campbell ao & Christine CampbellMichael & Helen CarapietStephen & Jenny CharlesAndrew Clouston & Jim McGownJohn ColesRobin Crawford am & Judy CrawfordGraham & Treffina DowlandDr William F DowneyVanessa Duscio & Richard EvansTerry & Lynn FernFitzgerald FoundationDaniel & Helen GauchatRobert & Jennifer GavshonNick & Kay GiorgettaColin Golvan qc & Debbie GolvanJohn Grill ao & Rosie Williams

Tony & Michelle GristEddie & Chi GuillemetteLiz HarbisonPaul & April HickmanCatherine Holmes à Court-MatherSimon & Katrina Holmes à Court Family TrustJay & Linda HughesDi JamesonAndrew & Lucie JohnsonSimon JohnsonSteve & Sarah JohnstonRussell & Cathy KaneJohn & Lisa KenchWayne KratzmannDr Caroline LawrensonJohn Leece am & Anne LeeceDavid & Sandy LiblingPatrick Loftus-Hills & Konnin TamDr Wai Choong Lye & Daniel LyeChristopher D. Martin & Clarinda Tjia-DharmadiJanet Matton & Robin RoweJulianne MaxwellNicholas McDonald & Jonnie Kennedy

Andrew & Cate McKenziePeter & Ruth McMullinJim & Averill MintoRany & Colin MoranUsmanto Njo & Monica Rufina TjandraputraDr Eileen OngJames OstroburskiSusan PhillipsSimon Pinniger & Carolyne RoehmAndrew & Andrea RobertsThe Ryan Cooper Family FoundationCarol Schwartz am & Alan Schwartz amRosy Seaton & Seumas DawesJennifer Senior & Jenny McGeePeter & Victoria ShorthouseHilary StackJon & Caro StewartJohn TabernerJamie & Grace ThomasAlenka TindaleDr Lesley TreleavenBeverley Trivett & Stephen HartPhillip Widjaja & Patricia KaunangSimon & Jenny Yeo

51


ACO National Education Program

The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or [email protected]. Program names as at 20 March 2018

Education PatronsMarc Besen ac & Eva Besen aoJanet Holmes à Court ac

Emerging Artists & Education Patrons $10,000 +Australian Communities Foundation – Ballandry FundMr Robert Albert ao & Mrs Libby AlbertGeoff AlderKaren Allen & Dr Rich AllenSteven Bardy & Andrew PattersonRod Cameron & Margaret GibbsStephen & Jenny CharlesJane & Andrew CliffordIn memory of Wilma CollieRyan Cooper Family FoundationRowena Danziger am & Ken Coles amIrina Kuzminsky & Mark DelaneyEureka Benevolent FoundationTerry & Lynn FernMr & Mrs Bruce FinkDr Ian Frazer ac & Mrs Caroline FrazerDaniel & Helen GauchatJohn Grill ao & Rosie WilliamsAngus & Kimberley HoldenCatherine Holmes à Court-MatherBelinda Hutchinson am & Roger Massy-GreeneGB & MK IlettJohn & Lisa KenchMiss Nancy KimptonAnthony & Sharon Lee FoundationLiz & Walter LewinAndrew LowAnthony & Suzanne Maple-BrownJim & Averill MintoServcorpLouise & Martyn Myer FoundationJennie & Ivor OrchardJames Ostroburski & Leo OstroburskiThe Bruce & Joy Reid TrustMargie Seale & David HardyRosy Seaton & Seumas DawesTony Shepherd aoAnthony StrachanLeslie C. ThiessAlden Toevs & Judi WolfShemara WikramanayakeLibby & Nick WrightE XipellPeter Young AM & Susan YoungAnonymous (3)

Direttore $5,000 – $9,999Walter Barda & Thomas O’NeillThe Belalberi FoundationCarmelo & Anne BontempoHelen BreekveldtVeronika & Joseph ButtaSuellen & Ron EnestromPaul & Roslyn EspieBridget Faye amVivienne FriedLiz HarbisonAnnie HawkerJohn Griffiths & Beth JacksonI KallinikosThe Key FoundationKerry LandmanIn memory of Dr Peter LewinLorraine LoganDanita Lowes & David FileMacquarie Group FoundationDavid Maloney & Erin FlahertyThe Alexandra & Lloyd Martin Family FoundationRany MoranBeau Neilson & Jeffrey SimpsonParis Neilson & Todd BuncombeLibby & Peter PlaskittJohn RickardGreg Shalit & Miriam FaineVictoria & Peter ShorthouseJ SkinnerSky News AustraliaPetrina SlaytorJeanne-Claude StrongTamas & Joanna SzaboVanessa TayAlenka TindaleSimon & Amanda WhistonCameron WilliamsWoods5 FoundationAnonymous (3)

Maestro $2,500 – $4,999Jennifer AaronAnnette AdairDavid & Rae AllenStephen & Sophie AllenWill & Dorothy Bailey Charitable GiftThe Beeren FoundationNeil & Jane BurleyCaroline & Robert ClementeLaurie & Julie Ann CoxCarol & Andrew Crawford

Anne & Tom DowlingAngelos & Rebecca FrangopoulosIn memory of Rosario Razon GarciaWarren GreenNereda Hanlon & Michael Hanlon amPeter & Helen HearlRuth Hoffman & Peter HalsteadWarwick & Ann JohnsonPeter & Ruth McMullinRoslyn MorganJane MorleyJenny NicolDavid Paradice & Claire PfisterSandra & Michael Paul EndowmentProf David Penington acKenneth Reed amRuth & Ralph RenardMrs Tiffany RensenFe & Don RossD N SandersCarol Schwartz am & Alan Schwartz amKathy & Greg ShandMaria SolaJosephine StruttSusan ThacoreRalph Ward-Ambler am & Barbara Ward-AmblerDon & Mary Ann YeatsProfessor Richard YeoWilliam & Anne YuilleAnonymous (4)

Virtuoso $1,000 – $2,499Barbara AllanJane AllenLillian & Peter ArmitageIn memory of Anne & Mac Blight David Blight & Lisa MaeorgLyn Baker & John BevanAdrienne BasserDoug & Alison BattersbyRobin BeechBerg Family FoundationGraeme & Linda BeveridgeLeigh BirtlesJessica BlockIn memory of Peter BorosBrian BothwellVicki BrookeDiana BrookesDr Catherine Brown-Watt PSM & Mr Derek WattStuart Brown

52


Virtuoso $1,000 – $2,499 (Continued)Sally BuféGerard Byrne & Donna O’SullivanIan & Brenda CampbellRay Carless & Jill KeyteAnn Cebon-GlassJulia Champtaloup & Andrew RotheryDr Peter CliftonJohn & Chris CollingwoodAngela & John ComptonLeith & Darrel ConybeareR & J CorneyAnne CraigGay CruickshankIan Davis & Sandrine BarouhMartin DolanIn memory of Ray DowdellDr William F DowneyPamela DuncanEmeritus Professor Dexter DunphyCarmel DwyerKaren EnthovenPeter EvansJulie EwingtonPatrick FairPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrDon & Marie ForrestJohn FraserChris & Tony FroggattAnne & Justin GardenerKay GiorgettaBrian GoddardJack Goodman & Lisa McIntyreIan & Ruth GoughMelissa & Jonathon GreenGrussgott TrustIn memory of Jose GutierrezLyndsey HawkinsKingsley HerbertLachie HillVanessa & Christian HolleChristopher HolmesMichael Horsburgh am & Beverley HorsburghPenelope HughesProfessor Emeritus Andrea Hull aoStephanie & Mike HutchinsonOwen JamesAnthony Jones & Julian LigaBrian JonesBronwen L JonesMrs Angela KarpinMichael KohnAirdrie LloydGabriel LopataProf Roy & Dr Kimberley MacLeodGarth Mansfield oam & Margaret Mansfield oamGreg & Jan MarshJanet Matton & Robin RoweKevin & Deidre McCann

Helen & Phil MeddingsJim MiddletonPeter & Felicia MitchellBaillieu Myer acNola NettheimJenny NicholPaul O’DonnellShay O’Hara-SmithFran OstroburskiChris OxleyMimi PackerLeslie ParsonageRosie PilatDr S M Richards am & Mrs M R RichardsEm Prof A W Roberts amJ SandersonIn Memory of H. St. P. ScarlettJennifer Senior & Jenny McGeeMorna Seres & Ian HillDiana Snape & Brian Snape amDr Peter & Mrs Diana Southwell-KeelyKeith SpenceDr Charles Su & Dr Emily LoDavid & Judy TaylorJane Tham & Philip MaxwellRob & Kyrenia ThomasAnne TonkinNgaire TurnerKay VernonJason WenderothPeter Yates am & Susan YatesRebecca Zoppetti LaubiAnonymous (21)

Concertino $500 – $999Mr & Mrs H T ApsimonJuliet AshworthElsa Atkin amRita AvdievChristine BarkerHelen BarnesIn memory of Hatto BeckMrs Kathrine BeckerRuth BellElizabeth BoltonLynne & Max BoothCarol BowerDenise BraggettMrs Ann BryceHenry & Jenny BurgerMrs Pat BurkeJosphine CaiHelen CarrigConnie ChairdAngela & Fred ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversRichard Cobden scDr Jane CookJohn CurottaMarie DalzielMari DavisRosemary DeanKath & Geoff Donohue

Jennifer DouglasIn Memory of Raymond DudleyAgnes FanSusan FreemanLouisa GeddesM GenerowiczPaul Gibson & Gabrielle CurtinDon & Mary GlueSharon GoldieColin Golvan qc & Debbie GolvanMrs Megan GracePaul Greenfield & Kerin BrownAnnette GrossKevin Gummer & Paul CumminsHamiltons Commercial InteriorsLesley HarlandPaul & Gail HarrisSue HarveyGaye HeadlamHenfrey FamilyDr Penny Herbert in memory of Dunstan HerbertDr Marian HillCharissa HoSue & David HobbsGeoff HogbinPeter & Edwina HolbeachRichard HunsteadGeoff & Denise IllingCaroline JonesPhillip JonesIrene Kearsey & Michael RidleyBruce & Natalie KellettMegan LoweDiana LungrenDr & Mrs Donald MaxwellHE & RJ McGlashanJ A McKernanClaire MiddletonAndrew NaylorG & A NelsonNevarc Inc.Robyn NicolRobin OfflerSue PackerEffie & Savvas PapadopoulosIan PenbossElizabeth PenderHelen PerlenKevin PhillipsDenis & Erika PidcockBeverly & Ian PryerJennifer RankinJedd RashbrookeMichael ReadJoanna Renkin & Geoffrey HansenAlexandra RidoutJennifer RoyleIrene Ryan & Dean Letcher qcTrish Ryan & Richard Ryan aoScott SaundersGarry Scarf & Morgie BlaxillMarysia SeganDavid & Daniela ShannonAgnes Sinclair

53


ACO Committees

Sydney Development Committee

Heather Ridout ao (Chair)Chair Australian Super

Guido Belgiorno-Nettis amChairman ACO

Gauri BhalaCEO Curious Collective

John Kench

Jason LiChairman Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner Crestone Wealth Management

Mark StanbridgePartner Ashurst

Alden ToevsGroup Chief Risk Officer CBA

Nina Walton

Melbourne Development Committee

Colin Golvan qc

Peter McMullinChairman McMullin Group

Martyn Myer aoChairman, Cogslate Ltd President, The Myer Foundation

James OstroburskiCEO Kooyong Group

Rachel PeckPrincipal peckvonhartel architects

Susan Thacore

Peter Yates amDeputy ChairmanMyer Family Investments Ltd &Director, AIA Ltd

Disability Advisory Committee

Morwenna CollettDirector Major Performing Arts ProjectsAustralia Council for the Arts

Alexandra Cameron-FraserChief Operating Officer, ACO

Sally CrawfordPatrons Manager, ACO

Vicki NortonEducation Manager, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

Event Committees

SydneyJudy Crawford (Chair) Lillian ArmitageLucinda CowdroySandra FermanEleanor GammellFay Geddes

Lisa KenchJulianne MaxwellKarissa MayoRany MoranJohn TabernerLynne Testoni

BrisbanePhilip BaconKay BryanAndrew CloustonDr Ian Frazer acMrs Caroline FrazerCass George

Wayne KratzmannShay O’Hara-SmithMarie-Louise TheileBeverley Trivett

ACO National Education Program Concertino $500 – $999 (Continued)

Ken SmithBrian StagollPatricia StebbensRoss Steele amCheri StevensonNigel StokeDouglas Sturkey cvo amIn memory of Dr Aubrey SweetDr Niv & Mrs Joanne Tadmore

Gabrielle TaggTWF Slee & Lee Chartered AccountantsVisionads Pty LtdJoy WearneGC & R WeirWestpac GroupHarley & Penelope WhitcombeKathy White

James WilliamsonSally WillisJanie WitteyDr Mark & Mrs Anna YatesGina YazbekLiLing ZhengAnonymous (25)

54


Chairman’s Council

The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis amChairman, ACO

Mr Matthew AllchurchPartner, Johnson Winter & Slattery

Mr Philip Bacon amDirector, Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Borghetti aoChief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

Mr John CasellaManaging Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney aoChairman, Wesfarmers

Mr Robin Crawford am & Mrs Judy Crawford

Rowena Danziger am & Kenneth G. Coles am

Mr Bruce FinkExecutive Chairman Executive Channel Holdings

Mr Angelos FrangopoulosChief Executive Officer Australian News Channel

Ms Ann Gamble Myer

Mr Daniel GauchatPrincipal, The Adelante Group

Mr Robert Gavshon & Mr Mark RohaldQuartet Ventures

Mr James GibsonChief Executive Officer Australia & New ZealandBNP Paribas

Mr John Grill ao & Ms Rosie Williams

Mrs Janet Holmes à Court ac

Mr Simon & Mrs Katrina Holmes à CourtObservant

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan MinchinDirector, Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige aoChief Executive Officer, Servcorp

Mr John P MullenChairman, Telstra

Mr Ian NarevChief Executive OfficerCommonwealth Bank

Ms Gretel Packer

Mr Robert Peck am & Ms Yvonne von Hartel ampeckvonhartel architects

Mrs Carol Schwartz am

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyChief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter ShorthouseSenior Partner Crestone Wealth Management

Mr Noriyuki (Robert) TsubonumaManaging Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa Wallace & Mr Alan Liddle

Mr Peter Yates amDeputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

ACO Government Partners

We thank our Government Partners for their generous support

The ACO is assisted by the Australian Government through theAustralia Council, its arts funding and advisory body.

The ACO is supported by the NSW Governmentthrough Create NSW.

55


Holmes à Court Family FoundationThe Ross Trust

Janet Holmes à Court AC

Marc Besen AC & Eva Besen AO

We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS

NATIONAL TOUR PARTNERS

ACO Partners56


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THINGS YOU NEED TO KNOW: The spectrum device and ™ are trade marks and ® are registered trade marks of Telstra Corporation Limited, ABN 33 051 775 556.

PrinciPal Partner

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