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I N R E C I TA L An intimate evening of evocative works for violin and piano. ARVO PÄRT Fratres BEETHOVEN Violin Sonata No.5, Spring SCULTHORPE Irkanda I BRAHMS Violin Sonata in D minor SYDNEY, CITY RECITAL HALL 12 SEPTEMBER CANBERRA, LLEWELLYN HALL 13 SEPTEMBER
One of the world's most acclaimed sopranos joins Richard Tognetti and the ACO for an impeccable program of Baroque masterworks. PORPORA In caelo stelle clare BACH Orchestral Suite No.1 HANDEL Salve Regina HANDEL Alessandro (selections) VIVALDI Ottone in Villa (selections) HANDEL Sonata a 5 BRISBANE, QPAC 10 OCTOBER MELBOURNE RECITAL CENTRE 15 OCTOBER SYDNEY, CITY RECITAL HALL 8, 12 & 18 OCTOBER NATIONAL TOUR PARTNER
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N AT ION A L T OUR PA R T NER
Last year, the ACO celebrated a significant milestone of 40 years. This year, Transfield, the company founded by my father, turns 60. Franco Belgiorno-Nettis was a remarkable man – as well as being instrumental in the development of Transfield, he was also a great lover of the arts. He created the Biennale of Sydney in 1973, and taught my brother Luca and me a love of the arts. With the Biennale of Sydney as an example, Transfield began its support for the ACO in the 1990s. We are proud to continue that support today. The proposed move of the ACO from its current location at Circular Quay to Pier 2/3 at Walsh Bay is the company’s single most important initiative since the appointment of Richard Tognetti as Artistic Director 26 years ago. Transfield feels a strong bond to the ACO’s part in this Arts Precinct project. In partnership with Mirvac, Transfield was responsible for the redevelopment of the larger Walsh Bay Precinct, including the resolution to designate in the masterplan that Pier 2/3 be returned to Arts use only. I share the Orchestra’s excitement that the move to Walsh Bay is a major step forward and filled with creative potential. Transfield is proud to partner with the ACO to bring you the Leonskaja & Mozart tour, featuring soloist Elisabeth Leonskaja – one of the most celebrated pianists of our time. With the ACO, Leonskaja plays Mozart’s Piano Concerto No.9, written when he was just 21. It is considered Mozart’s first real masterpiece – a musical coming of age. Scholars such as Charles Rosen have called it ‘perhaps the first unequivocal masterpiece of the classical style’. Alfred Brendel considered it ‘one of the greatest wonders of the world’. We hope you have another unforgettable experience!
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ME S S AGE F ROM T HE M A N A GING DIR E C T OR
What an exciting and action-packed month it has been. The Orchestra has just returned from Gstaad, London, Copenhagen, Edinburgh and Tanglewood with their cases filled with five-star reviews. Weimar Cabaret, starring the irrepressible Barry Humphries and the incandescent Meow Meow brought audiences to their feet across the UK and the US. And the Orchestra has landed just in time for the launch of the 2017 season – if you haven’t already received yours, be sure to pick up our new brochure on your way out from this concert. For his 28th season at the helm of the ACO, Richard Tognetti clocks up a series of Australian firsts – he collaborates with a BAFTA Award nominated director on a full-length motion picture; pairs two contemporary artists in a program that takes you from hell to heaven; leads the ACO in an extensive laboratory-like international residency; plays a ‘holy trinity’ of works as homage to arguably the greatest composer of all time; has the ACO’s own musicians appear as soloists; and assembles the ACO’s biggest cast ever to perform one of the best known and most-loved works in the Western classical repertoire with an international line-up of soloists and singers. I’m sure you will find many programs and artists of great interest in the season, so don’t forget to secure your seats without delay. We acknowledge Transfield Holdings as our National Tour Partner for this tour, and offer our thanks to Guido and Luca Belgiorno-Nettis. Their personal contributions, in particular Guido’s as a member of the ACO’s Board for 20 years, have given us the strength and confidence to cast our gaze far into the future, knowing that the ACO is strong, stable and able to support our musicians in their pursuit of excellence and innovation for you, our audiences at home, and around the globe.
Richard Evans Managing Director 9
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L E ON SK A J A
& MO Z A R T Elisabeth Leonskaja Piano Roman Simović Guest Leader R STRAUSS (arr. Timo-Veikko Valve) Sextet from Capriccio, Op.85 MOZART Piano Concerto No.9 in E-flat major ‘Jeunehomme’ I. Allegro II. Andantino III. Rondeau (Presto) Interval BEETHOVEN (arr. Timo-Veikko Valve) String Quartet in E-flat major, Op.127 I. Maestoso – Allegro II. Adagio ma non troppo e molto cantabile – Andante con moto – Adagio molto espressivo – Tempo primo III. Scherzo (Vivace) IV. Finale (Allegro) Approximate durations (minutes): 10 – 32 – INTERVAL – 35 The concert will last approximately one hour and 45 minutes, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 11
W H AT YOU A R E A BOU T T O HE A R Russian pianist, Elisabeth Leonskaja, is the unrivalled doyenne of the Russian old school, a formidably distinguished personality and one of the most celebrated pianists of our time. She has earned the moniker ‘lioness of the keyboard’, her every move signifying vast experience, and has remained true to herself and to her music. In doing so, she is following in the footsteps of the great Russians of the Soviet era, such as David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich and Emil Gilels, who never wavered in their focus on the essence of music despite working under a grim political regime. PICTURED: Richard Strauss
PICTURED: Wolfgang Amadeus Mozart
PICTURED: Ludwig van Beethoven
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Leonskaja brings more experience to the stage than almost any other living pianist. With the ACO, she plays Mozart’s Piano Concerto No.9, written when he was just 21. The ‘Jeunehomme’ is considered Mozart’s first real masterpiece, a musical coming of age. Scholars such as Charles Rosen have called it ‘perhaps the first unequivocal masterpiece of the classical style’. Alfred Brendel considered it ‘one of the greatest wonders of the world’. It is a work of remarkable ambition, originality and wit, and it was not only ‘the first of Mozart’s mature piano concertos, but the maturing of the form itself – one that the composer would dominate until the appearance of Beethoven’. Under the direction of Roman Simović, concertmaster of the London Symphony Orchestra, the ACO plays Beethoven’s String Quartet Op.127, the first of his late quartets which heralded for him a new phase of intimacy and sophistication. We hear this quartet in a new arrangement by Principal Cello Timo-Veikko Valve, who arranged Richard Strauss’ Sextet from Capriccio, a piece of pure chamber music for strings. Tipi says of his arrangements: ‘Altering something that is already perfect is always a gamble. The reason for arranging a piece of music is never really to make the existing work better. Rather subtly viewing the work of art from another angle. Of course there are some advantages when pumping a string quartet with steroids, as some aspects of the original is now more suited for our large concert halls. One often hears criticism that the intimacy of the original work is lost when arranging a quartet for a string orchestra. I feel the opposite. The opportunity to have more colours at your disposal, when used well, only makes the music more vibrant. Our collective aim is always a balance between keeping the arrangement delicate and at times unleashing the full force of the ACO. I hope that these arrangements will make you hear the works in a new way, enforcing their message.’
A BOU T T HE MUSIC RICHARD STRAUSS Born Munich, 1864. Died Garmisch-Partenkirchen, 1949. SEXTET FROM CAPRICCIO, OP.85 Composed 1940-41.
PICTURED: Richard Strauss
Capriccio, Strauss’ last completed opera, is based on a libretto compiled by the composer with the help of the conductor, Clemens Krauss. Described by Strauss as a ‘conversation piece for music’, it portrays an earnest contest between the powers of ‘words’ and ‘music’ taking place in a château outside Paris shortly before the French Revolution. Flamand, a composer, is vying with his colleague, a poet, for the sexual favours of a sophisticated young widow, the countess Madeleine. There is no question of marriage in either case (neither artist has the social standing to wed an aristocrat), but an affair is not out of the question, if only Madeleine could decide which of the two she liked better. As the curtain goes up, Madeleine and her brother, the count, are listening to a string sextet which Flamand has written for her birthday. Luckily, since its details
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‘Although Capriccio is set in the late 18th century . . . the music belongs inescapably to Strauss’ own era.’ are obscured by the sung comments of the characters, the real audience has already heard Strauss/Flamand’s delightful piece complete and uninterrupted, as a sort of chamber-scaled overture to the opera. ‘The instrumental sextet that opens the opera . . . [is] Strauss at his most lyrical and sensitive, but suffused with autumnal melancholy . . . Although Capriccio is set in the late 18th century and a mock-rococo style is sometimes affected, the music belongs inescapably to Strauss’ own era.’
PICTURED: Capriccio program cover
As befits its late 18th-century setting, Flamand’s Sextet is more-or-less like a small Classical sonata in form (if unabashedly Straussian in content!). Its first section (the statement of themes, or exposition) contains the solid, majorkey main ideas, and closes with a clearly audible cadence on which all the instruments pause. The discursive central (or development) episode then starts out with all the strings playing tremolo, and progresses by way of cadenza-like solos (for first violin, first viola and first cello in turn) across more uncertain, chromatic ground, before arriving back on familiar territory in a varied reprise of the opening (the recapitulation). Though the opera was not premiered until October 1942 in Munich, Strauss arranged for an earlier hearing of the Sextet in Vienna, a genuine chamber performance at the home of the Nazi Reichsstatthalter there, Baldur von Schirach. This, apparently, was an act of political expediency on Strauss’ part, largely to register gratitude for what Schirach had done to cushion the composer from the open hostility towards him and his music then emanating from Nazi headquarters in Berlin. © Australian Chamber Orchestra
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WOLFGANG AMADEUS MOZART Born Salzburg 1756. Died Vienna 1791. PIANO CONCERTO IN E-FLAT MAJOR, K.271 ‘JEUNEHOMME’ Composed 1777. I. Allegro II. Andantino III. Rondeau (Presto) Do not be misled by the nickname attached to this concerto, Jeunehomme (i.e. ‘young man’). It was not written for a young man at all but, like many of Mozart’s piano concertos, was composed for a woman, Victoire Jenamy. This name has only recently come to light, thanks to dogged detective work by Vienna-based music scholar Michael Lorenz. Prior to Lorenz’s discovery, it was frequently claimed that Mozart wrote the work for a woman pianist with the surname Jeunehomme. This is simply not true. No such person existed.
PICTURED: Mozart in 1777, the year of the concerto. Detail from a painting by an unknown artist.
Victoire Jenamy, who was born in Strasbourg in 1749, was the eldest daughter of a distinguished French-Swiss dancer and choreographer, Jean-Georges Noverre. Noverre was known throughout Europe – he held positions in Paris, London and Vienna, among other places – and crossed paths with the Mozart family on a number of occasions. His daughter, Victoire, who married Viennese merchant Joseph Jenamy, spent time in Salzburg in the winter of 1776-77 and it was there, in January 1777, 15
Mozart referred to the work as ‘the one for jenomy [sic]’. that Mozart composed the Piano Concerto in E-flat. Writing to his father the following year, Mozart referred to the work as ‘the one for jenomy [sic]’. The ninth of Mozart’s 27 piano concertos, the Piano Concerto in E-flat major K.271 was written in the same month that Mozart turned 21 and reveals a new level of sophistication and daring. For one thing, Mozart appears to have thrown away the rule book. Instead of biding its time and waiting for the orchestra to deliver the initial ritornello, the piano interjects in bar two of the opening movement, Allegro, declaring its presence, albeit briefly, and signalling that this is going to be a concerto where originality and imagination occupy the foreground. The first movement is all brio and bonhomie – epitomising the era’s predilection for music that is tuneful and uncomplicated – yet conceals within its structure surprising formal touches. Do we hear the piano’s first significant entry, which is signalled by a trill, as a codetta (a small closing section) or a lead-in to the piano exposition? In fact, it is both; Mozart clearly relishing the wit – likewise prized during this era – of a stunt such as this. PICTURED: Page 1 of the Piano Concerto No.9 in E-flat major ‘Jeunehomme’.
The second movement plunges us into a different world altogether. In the key of C minor – a strong signifier of the tragic in Mozart’s music – and using a wide range of expressive effects (such as muted strings, chromatic harmonies and eloquent ornamentation), the Andantino ushers us into a highly charged, quasi-operatic realm. Here, Mozart presents a movement of tremendous sensitivity and depth. Mme Jenamy must have had a remarkably agile technique judging from the furious pace and relentless figuration of the Rondeau. The fun and games implicit in the first movement are explicit in the whimsical finale where, in the middle of the movement, Mozart brings things to a grinding halt and segues into a lengthy Menuetto. A reprise of the breathless opening material follows and, in a final miraculous moment, soloist and orchestra become ever quieter, ultimately dissolving into nothingness. Robert Gibson © 2016
Reprinted by permission of Symphony Services International 16
LUDWIG VAN BEETHOVEN Born Bonn 1770. Died Vienna 1827. STRING QUARTET IN E-FLAT MAJOR, OP.127 Composed 1823-24. I. II. III. IV.
Maestoso – Allegro Adagio ma non troppo e molto cantabile – Andante con moto – Adagio molto espressivo – Tempo primo Scherzo (Vivace) Finale (Allegro)
Stylistic evolution is a major theme in any discussion of Beethoven’s œuvre, as it is with artists such as T.S. Eliot and Picasso. For a man whose uncanny perception of the profundities of the human condition shone through his music from the very start, from a larger-than-life soul and intellect, it is deeply meaningful to see how life experience and philosophical questioning over time comes to be reflected in the art work. Beethoven is in fact the quintessential example of the idea of a late style in music, of a broadening of insight and the wilful manipulation of form and rhetoric to accommodate that insight. Coming out of his ‘middle’ period, the so-called heroic style epitomised by works such as the Eroica Symphony or the PICTURED: Ludwig van Beethoven
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Op.59 quartets, Beethoven’s vision of the world and of his, and by extension mankind’s, place in it underwent a radical metamorphosis. Ego, the primacy of effort and the battle of ideas begin to dissolve and make way for a vision of wholeness, of a sacred order. All that he had explored with the sense of a human protagonist in his music shifts so that the composer no longer seems so much in the world as of it. Beethoven was deeply interested in Hindu and Brahman philosophy at this point in his life (as was fashionable at the time) and copied into his notebooks numerous statements from their sacred texts. The relationship with time, will and vision all move in new directions in the late quartets. In the E-flat Major quartet, Op.127, in particular we find a spiralling inwards, a refutation of earlier models of drama and struggle. There is an omnipresent sense of dissolving into acceptance and clarity, and for Beethoven it is an uncommonly tender and introverted work. The quartet opens with a curious framing device. It begins with a grand chordal announcement (marked Maestoso), one which, due to the key, it is hard not to associate with the Eroica Symphony. As the phrase reaches upwards it comes to rest not on the expected dominant harmony but on the sub-dominant. In emotional terms this means that instead of reaching up toward a chord that will validate the strength of the home key the phrase falls gently back into a more subjective, even subjunctive, key area which is a release from the key in which we begin. It is a pulling back, a turning away from the expected outer triumph toward selfacceptance and a ruminative kind of exploration. This first harmonic move very much sets the stage for the way the piece will operate as a whole, and in fact turns out to point also to the key of the otherworldly slow movement as well as to a central pitch of the finale. The main theme of the first movement appears at this moment, dissolved into with all the voices either keeping their previous pitch or actually sustaining through the moment of arrival. The boundary is a watery one, that of entering into a meditative state, and the flow of the music is simplicity itself, with tenderly falling phrases. At the moment of expected dramatic contrast, the second theme, Beethoven thwarts these expectations and gives us a theme of a sadder cast but refusing to engage in dialectic with the first theme. The opening Maestoso music returns two more times in the movement, the first announcing the development section. But the second comes early in the structure of the whole and then fails to appear to announce the recapitulation, the moment when we should feel a true sense of arrival and coming to terms with built up conflict. Instead the music subsides into the return of the first theme in a way that suggests a refusal to wrestle with the material and instead melts into serenity. The coda of the movement could hardly be more filled with 18
A theme of infinite patience and grace opens up into an extraordinary set of transformations. intimate tenderness, the public music of the Maestoso having been left far in the past. The second movement is a set of variations on a prayerful theme introduced with hesitant half gasps that echo the harmonic ploy of the opening of the piece, once again gently descending into the subdominant. A theme of infinite patience and grace opens up into an extraordinary set of transformations. Already in the first variation the climaxes give us a pre-echo of the climax of the entire work in the coda of the Finale. The second variation enters the world of play, evoking the natural joy and wonder in children’s games, in this case an acrobatic game of leapfrog between the violins. The centre of the movement rises up to a distant, unexpected and radiant key area where the theme achieves a sense of religious ecstasy sung out in operatic style. It is a simple shift, and yet it reveals an entire world tangential to the one in which we typically dwell, as if Beethoven is able to lift us out of the plane of our existence. I am reminded of the moment in Edwin Abbott’s Flatland where a sphere lifts the protagonist, a square, out of the plane in which he lives and suddenly, with dizzying and overwhelming insight, our hero can see the insides of seemingly impenetrable figures from his world. The sense of clarification from a distance is as if we’ve been privileged to see into the beyond. As we are gently placed back in the mortal sphere the illumination of this insight continues to glow; the beauty of our world glimmers and grows more rarefied. Despite a dark interlude, the theme eventually gets spun out into a gossamer line, initially in the first violin, accompanied by undulating pulsations derived from the introductory gesture of the movement. The coda of the movement recalls the parallel universe shift of the middle of the movement within the space of three measures, a final reminder both of Elysium and of the reflection of its splendour in our own world. The Scherzo again has an introductory gesture, but this one is finally straightforward and playfully announces a movement which is filled with clever contrapuntal games and serves as a foil to the depth of the previous movements. Lines that skip upwards are answered by others that flip them upside down, reminiscent of the leapfrog variation in the previous movement. The music gallops and flirts with the idea of a more graceful dance without ever giving in to it. Again in this movement we find a boundary dissolving device, a single chord that stutters, 19
The Finale . . . wends its way downwards in curious curves, tempted in many directions at once. changes to minor, then begins to pulsate and whirl, leading into a tornado-like torrent, transporting us to an Oz where there is a folkish, perhaps pagan stomping dance. This whirling music teases with a brief reappearance at the end of the movement, just enough almost to throw the main rhythm of the movement off course, but all is righted at the final moment for an enthusiastic ending. The Finale begins with a curious opening gesture, vigorously emphasising the A-flat subdominant that has been so important earlier in the piece. It is an arresting moment, rich with personal struggle and striving; it wends its way downwards in curious curves, tempted in many directions at once. Yet when it lands at the bottom it is in the home key of the piece, with a melody that is both gentle and folk-like in its quiet yodelling. The theme itself emphasises the A-flat twice before lifting it upwards so that it can gently topple over and find its way back home. This rising idea of A-flat to A-natural to a B-flat dominant that can release into the home key is an encapsulation of the function of this movement, a lifting out of contemplation back into the world with a renewed sense of harmony with what is. The most touching and exalted boundary dissolution comes in the coda of this final movement, where Beethoven holds time prisoner with an ellipsis that blossoms into a trill. The trill contains the A-flat once again and then releases that pitch, and with it the tether of self-hood, into a visionary reflection of the perfection that surrounds us. The great painter Mark Rothko said ‘all teaching about selfexpression is erroneous in art . . . knowing yourself is valuable so that the self can be removed from the process’. For Beethoven in the late quartets, as evidenced in Op.127 and particularly in this lustrous coda (and like in Rothko’s mature paintings), the self is dissolved into a broader and more inclusive vision. Effort is replaced with acceptance and the profoundest love. © Mark Steinberg
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T HI S I S A WOR LD WHERE S OUND TOUCHES T HE SO UL AND S I G HT P L AYS S ECOND FI D DLE TO T HE S YMPHONY.
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ELISABETH LEONSKAJA PIANO
For decades now, Elisabeth Leonskaja has been among the most celebrated pianists of our time. In a world dominated by the media, Elisabeth Leonskaja has remained true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as David Oistrakh, Sviatoslav Richter and Emil Gilels, who never wavered in their focus on the quintessence of music despite working in a very difficult political environment. Her almost legendary modesty still makes her somewhat media-shy today. Yet as soon as she walks out on the stage, audiences can sense the force behind the fact that music is and always has been her life’s work. Photo by Julia Wesely
Born in Tbilisi, Georgia, to a Russian family, she was regarded as a child prodigy and gave her first concerts as early as age 11. While still a student at the Moscow Conservatory, she won prizes in the prestigious Enescu, Marguerite Long and Queen Elizabeth international piano competitions. Elisabeth Leonskaja’s musical development was shaped and influenced to a decisive degree by her collaboration with Sviatoslav Richter. The Master recognised her exceptional talent and fostered her development not only through teaching and advice, but also by inviting her to play numerous concerts with him. The musical partnership and personal friendship between Sviatoslav Richter and Elisabeth Leonskaja endured until Richter’s death in 1997. In 1978, Elisabeth Leonskaja left the Soviet Union and made her new home in Vienna. Her sensational performance at the Salzburg Festival in 1979 marked the beginning of her steadily blossoming career as a concert pianist in the West. She is an Honorary Member of the Konzerthaus of Vienna and in 2006, she was awarded the Austrian Cross of Honour, First Class, for her services to the cultural life of the country – the highest award of its kind in Austria. Her CD, PARIS, with works by Ravel, Debussy and Enescu was just released by the Berlin-based Label eaSonus (www.easonus.com). A complete recording of the Schubert Sonatas will follow.
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ROMAN SIMOVI C´ VIOLIN
Roman Simović’s brilliant career has taken him all over the world, performing on many of the most prestigious stages including the Bolshoi and Rachmaninov halls of the Moscow Conservatory, Mariinsky Theatre in St Petersburg, Opera House in Tel-Aviv, Victoria Hall in Geneva, Rudolfinum in Prague, The Barbican in London, Seoul Arts Centre and Grieg Hall in Bergen. Roman Simović has been awarded prizes at numerous international competitions, including Rodolfo Lipizer Prize (Italy), Tibor Varga International Violin Competition Sion Valais (Switzerland), International Yampolsky Violin Competition (Russia) and the Henryk Wieniawski International Violin Competition (Poland), placing him among the foremost violinists of his generation. As a soloist, Simović has appeared with the world leading orchestras, including London Symphony Orchestra, Mariinsky Theatre Symphony Orchestra, Teatro Regio Torino, Symphony Nova Scotia, Franz Liszt Chamber Orchestra, Camerata Bern, Camerata Salzburg, CRR Istanbul Symphony Orchestra, Poznan Philharmonic, Prague Philharmonia, and The Brabant Orchestra, with such conductors as Valery Gergiev, Antonio Pappano, Daniel Harding, Gianandrea Noseda, Kristjan Järvi, Jiří Bělohlávek, Pablo Heras-Casado and Nikolaj Znaider. Roman Simović performs regularly at many distinguished festivals around the world, collaborating with such renowned artists as Leonidas Kavakos, Yuja Wang, Gautier Capuçon, Tabea Zimmermann, Mischa Maisky, Shlomo Mintz, François Leleux, Itamar Golan, Simon Trpčeski, Janine Jansen and Julian Rachlin. Roman Simović is also an avid chamber musician, and is a founding member of the distinguished Rubikon String Quartet. As an educator, he has presenter master-classes in the US, UK, South Korea, Serbia, Montenegro and Israel. Roman Simović plays a 1709 Stradivarius which is generously on loan from Jonathan Moulds, President of the Bank of America. In addition to his regular duties as Concertmaster of the London Symphony Orchestra, upcoming projects include two CDs with the LSO string orchestra, and a recording with the Mariinsky Theatre Symphony Orchestra of concertos by Tchaikovsky and Glazunov.
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AUS T R A L I A N CH A MBER ORCHE S T R A Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass PART-TIME MUSICIANS Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello
‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK) From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland. The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents. 25
MUSICI A NS ON S TAGE
Roman Simović Guest Leader and Violin
Helena Rathbone 1 Principal Violin
Glenn Christensen Violin
Chair sponsored by Kate & Daryl Dixon
Chair sponsored by Terry Campbell ao & Christine Campbell
Mark Ingwersen 2 Violin
Ilya Isakovich Violin
Liisa Pallandi Violin
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Chair sponsored by The Melbourne Medical Syndicate
Maja Savnik Violin
Ike See Violin
Zoe Black Violin
Chair sponsored by Di Jameson
Players dressed by WILLOW and SABA 26
Thibaud Pavlovic-Hobba Violin
Nicole Divall 3 Viola
Caroline Henbest Viola
Chair sponsored by Ian Lansdown
Timo-Veikko Valve 4 Principal Cello
Melissa Barnard Cello
Julian Thompson 5 Cello
Chair sponsored by Peter Weiss ao
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by The Grist & Stewart Families
Viola
Horn
Ben Ullery
Ben Jacks
Courtesy Los Angeles Philharmonic
(except Wollongong) Courtesy Sydney Symphony Orchestra
Thomas Chawner Oboe Michael Pisani Courtesy Melbourne Symphony Orchestra
Wendy Page Courtesy Tasmanian Symphony Orchestra
Michael Dixon (Wollongong only)
Ngaire de Korte Courtesy Sydney Conservatorium of Music
Maxime Bibeau 6 Principal Bass Chair sponsored by Darin Cooper Foundation
1. Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 2. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 3. Nicole Divall plays a 1610 Giovanni Paolo Maggini viola kindly on loan from a private Australian benefactor. 4. Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. 5. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 6. Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 27
ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo
ARTISTIC DIRECTOR Richard Tognetti ao
ADMINISTRATIVE STAFF
Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager
MARKETING Aaron Curran Acting Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator
Vicki Norton Education Manager
Cristina Maldonado Communications Coordinator
Caitlin Gilmour Education Assistant
Chris Griffith Box Office Manager
FINANCE
Dean Watson Customer Service & Access Manager
Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer
Evan Lawson Box Office Assistant Christina Holland Office Administrator
EXECUTIVE OFFICE
Yvonne Morton Accountant
Richard Evans Managing Director
Shyleja Paul Assistant Accountant
Ken McSwain Systems & Technology Manager
Jessica Block Deputy General Manager
DEVELOPMENT
Emmanuel Espinas Network Infrastructure Engineer
Alexandra Cameron-Fraser Chief Operating Officer
Anna McPherson Development Manager
Katie Henebery Executive Assistant to Mr Evans & Mr Tognetti ao
Jill Colvin Philanthropy Manager
ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian
28
Lillian Armitage Capital Campaign Executive Tom Tansey Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager Alice Currie Development Coordinator
INFORMATION SYSTEMS
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail PO Box R21, Royal Exchange NSW 1225 Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
V ENUE SUPP OR T
ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000
ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004
PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000
GPO Box 2252, Adelaide SA 5001
Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au
PO Box 3041, East Perth WA 6892
Venue Hire Information Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au
Tom Harley President Victorian Arts Centre Trust
Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager
Claire Spencer Chief Executive Officer
Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer
WOLLONGONG TOWN HALL MERRIGONG THEATRE COMPANY ILLAWARRA PERFORMING ARTS CENTRE
CITY RECITAL HALL A City of Sydney Venue 2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Elaine Chia General Manager
WOLLONGONG TOWN HALL Wollongong Town Hall is managed by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au
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.
29
L E ON SK A J A
& MOZ A R T TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert. Fri 26 Aug 12.45pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Wed 31 Aug 6.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Sat 27 Aug 6.45pm Wollongong Town Hall Pre-concert talk by Ken Healey am
Sat 3 Sep 6.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Tue 30 Aug 7.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Sun 4 Sep 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Anna Melville
Mon 5 Sep 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Anna Melville Tue 6 Sep 6.45pm Adelaide Town Hall Pre-concert talk by Anna Melville Wed 7 Sep 6.45pm Perth Concert Hall Pre-concert talk by Anna Melville
Pre-concert speakers are subject to change.
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Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–165— 17910 — 1/260816 30
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31
ACO MEDICI PROGR A M In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON
CORE CHAIRS
ACO COLLECTIVE
The late Amina Belgiorno-Nettis
VIOLIN
PRINCIPAL CHAIRS
Glenn Christensen Terry Campbell ao & Christine Campbell
Pekka Kuusisto Artistic Director & Lead Violin
Richard Tognetti ao Artistic Director & Lead Violin Michael Ball ao & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin
Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Ian Wallace & Kay Freedman Ilya Isakovich The Humanity Foundation
Kate & Daryl Dixon
Liisa Pallandi The Melbourne Medical Syndicate
Satu Vänskä Principal Violin
Ike See Di Jameson
Kay Bryan
VIOLA
Principal Viola peckvonhartel architects
Alexandru-Mihai Bota Philip Bacon am
Timo-Veikko Valve Principal Cello
Nicole Divall Ian Lansdown
Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Horsey Jameson Bird
GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert
FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Annie Corlett am
CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families
ACO L IF E PAT RONS IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao
Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao
Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao
ACO BEQ UE S T PAT RONS 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, Philanthropy Manager, on 02 8274 3835. The late Charles Ross Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer Dave Beswick The Estate of Prof. Janet Carr The late Mrs Moya Crane 32
The late Colin Enderby The late John Nigel Holman The late Dr S W Jeffrey am Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller
The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The Estate of Scott Spencer Margaret & Ron Wright
ACO CON T INUO CIRCL E Steven Bardy
Suzanne Gleeson
Cheri Stevenson
Ruth Bell
Lachie Hill
Leslie C Thiess
Sandra Cassell
David & Sue Hobbs
G.C. & R. Weir
Mrs Sandra Dent
Penelope Hughes
Mark Young
Leigh Emmett
Mrs Judy Lee
Anonymous (13)
Peter Evans
Selwyn M Owen
Carol Farlow
Ian & Joan Scott
ACO GENER A L SUPP OR T PAT RONS ACO General Support Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. Andrew Andersons
Jennifer Hershon
John & Lynnly Chalk
Peter & Edwina Holbeach
Kevin & Deidre McCann Baillieu Myer ac
Dr Jane Cook
Michael Horsburgh am & Beverley Horsburgh
Douglas & Elisabeth Scott
Pamela Duncan Paul & Roslyn Espie
Penelope Hughes
Dr Jason Wenderoth
Dr Roy & Gail Geronemus
Mike & Stephanie Hutchinson
Brian Zulaikha
The Hadfield Family
Professor Anne Kelso ao
Anonymous (2)
Jeanne-Claude Strong
ACO NE X T 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. MEMBERS Clare Ainsworth Herschell
John & Lara James
Michael Radovnikovic
Justine Clarke
Aaron Levine & Daniela Gavshon
Jessica Read
Este Darin-Cooper & Chris Burgess
Royston Lim
Louise & Andrew Sharpe
Amy Denmeade
Gabriel Lopata
Emile & Caroline Sherman
Catherine & Sean Denney
William Manning
Michael Southwell
Jenni Deslandes & Hugh Morrow
Rachael McVean
Helen Telfer
Anthony Frith & Amanda Lucas-Frith
Carina Martin
Karen & Peter Tompkins
Anita George
Barry Mowzsowski
Joanna Walton
Alexandra Gill
Paris Neilson & Todd Buncombe
Nina Walton & Zeb Rice
Rebecca Gilsenan & Grant Marjoribanks
James Ostroburski
Peter Wilson & James Emmett
Adrian Giuffre & Monica Ion
Nicole Pedler
John Winning Jr.
33
ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO INS T RUMEN T F UND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call the Investor Relations Manager on 02 8274 3878. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman)
SONATA $25,000 – $49,999
INVESTORS
ENSEMBLE $10,000 – $24,999
Stephen & Sophie Allen
Lesley & Ginny Green
John & Deborah Balderstone
Peter J Boxall ao & Karen Chester
Guido & Michelle Belgiorno-Nettis
Jessica Block
Bill Best
John Leece am
SOLO $5,000 – $9,999
Andrew Stevens
PATRON $500 – $4,999
Sam Burshtein & Galina Kaseko
John Taberner
Michael Bennett & Patti Simpson
Carla Zampatti Foundation
Leith & Darrel Conybeare
Sally Collier
Dr Jane Cook
Michael Cowen & Sharon Nathani
VISIONARY $1m+
Geoff & Denise Illing
Marco D’Orsogna
Peter Weiss ao
Luana & Kelvin King
Dr William F Downey
Jane Kunstler
Garry & Susan Farrell
John Landers & Linda Sweeny
Gammell Family
CONCERTO $200,000 – $499,999
Genevieve Lansell
Edward Gilmartin
The late Amina Belgiorno-Nettis
Bronwyn & Andrew Lumsden
Tom & Julie Goudkamp
Naomi Milgrom ao
Patricia McGregor
Philip Hartog
OCTET $100,000 – $199,999
Trevor Parkin
Brendan Hopkins
John Taberner
Elizabeth Pender
Angus & Sarah James
Robyn Tamke
Daniel & Jacqueline Phillips
Anonymous (2)
Ryan Cooper Family Foundation
PATRONS
LEADER $500,000 – $999,999
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous
Benjamin Brady
Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman
34
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS
MOUNTAIN PRODUCERS’ SYNDICATE
Peter & Cathy Aird
Major Producers
Gerard Byrne & Donna O’Sullivan
Janet Holmes à Court
Mirek Generowicz
Warwick & Ann Johnson
Peter & Valerie Gerrand
Producers
G Graham
Warren & Linda Coli
Anthony & Conny Harris
Anna Dudek & Brad Banducci
Rohan Haslam
David Friedlander
Corporate Supporter
John Griffiths & Beth Jackson
Tony & Camilla Gill
UBS
Andrew & Fiona Johnston
John & Lisa Kench
Lionel & Judy King
Charlie & Olivia Lanchester
David & Sandy Libling
Rob & Nancy Pallin
Tony Jones & Julian Liga
Peter & Victoria Shorthouse
Robert & Nancy Pallin
Alden Toevs & Judi Wolf
Deborah Pearson
Supporter
Alison Reeve
The Penn Foundation
Augusta Supple Dr Suzanne M Trist
THE REEF NEW YORK PRODUCERS’ SYNDICATE
Team Schmoopy
Executive Producers
Rebecca Zoppetti Laubi
Tony & Michelle Grist
Anonymous (1)
Major Partner
Corporate Partner Lexington Partners Manikay Partners
MELBOURNE HEBREW CONGREGATION PATRONS LEAD PATRONS Marc Besen ac & Eva Besen ao
SUPPORTER Leo & Mina Fink Fund
Lead Producers
EMANUEL SYNAGOGUE PATRONS
INTERNATIONAL TOUR PATRONS
Jon & Caro Stewart Foundation
CORPORATE PARTNERS
The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:
Major Producers
Adina Apartment Hotels
Danielle & Daniel Besen Foundation
Meriton Group
Mr Robert Albert ao & Mrs Libby Albert
Charlie & Olivia Lanchester
Linda & Graeme Beveridge
Producers
Jan Bowen
Richard Caldwell
Kay Bryan
Warren & Linda Coli
Stephen & Jenny Charles
Graham & Treffina Dowland
Ann Gamble Myer
Steve Duchen & Polly Hemphill
Daniel & Helen Gauchat
Wendy Edwards
Yvonne von Hartel am & Robert Peck am peckvonhartel architects
Janet Holmes à Court ac
Bruce & Jenny Lane
Max Gundy (Board member ACO US) & Shelagh Gundy
Julianne Maxwell Jim & Averill Minto
David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
Rebecca John & Daniel Flores Patrick Loftus-Hills (Board member ACO US) & Konnin Tam
Alf Moufarrige
Sally & Steve Paridis (Board members ACO US)
Angela Roberts
Peter & Victoria Shorthouse
Mike Thompson
John Taberner (Board member ACO US) & Grant Lang
Peter Weiss ao
PATRONS
Gilbert George Tony & Camilla Gill
John Leece
The Narev Family
Doug Elix
Janet Holmes à Court Delysia Lawson
LEAD PATRON
Alden Toevs & Judi Wolf
35
AC O N AT ION A L EDUC AT ION PROGR A M 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 jill.colvin@aco.com.au Donor list current as at 10 June 2016 PATRONS
Jennie & Ivor Orchard
Dr John Harvey ao & Mrs Yvonne Harvey
Marc Besen ac & Eva Besen ao
Bruce & Joy Reid Trust
Wendy Hughes
Janet Holmes à Court ac
Andrew & Andrea Roberts
Annie Hawker
Mark & Anne Robertson
Insurance Group Australia Limited
Margie Seale & David Hardy
I Kallinikos
Rosy Seaton & Seumas Dawes
John Kench
Tony Shepherd ao
Key Foundation
EMERGING ARTISTS & EDUCATION PATRONS $10,000 + Mr Robert Albert ao & Mrs Libby Albert Daria & Michael Ball Australian Communities Foundation – Ballandry Fund Steven Bardy & Andrew Patterson The Belalberi Foundation Anita & Luca Belgiorno-Nettis Foundation Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis Andre Biet Rod Cameron & Margaret Gibbs Stephen & Jenny Charles
John Taberner & Grant Lang Leslie C. Thiess The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao David & Julia Turner E Xipell Peter Yates am & Susan Yates Professor Richard Yeo
Anthony & Sharon Lee Foundation Mrs Judy Lee Lorraine Logan Macquarie Group Foundation David Maloney & Erin Flaherty Julianne Maxwell Pam & Ian McDougall
Peter Young am & Susan Young
Brian & Helen McFadyen
Anonymous (3)
P J Miller James Ostroburski & Leo Ostroburski
Rowena Danziger am & Ken Coles am
DIRETTORE $5,000 – $9,999
Irina Kuzminsky & Mark Delaney
The Abercrombie Family Foundation
Mr Bruce Fink
Geoff Ainsworth & Jo Featherstone
Dr Ian Frazer ac & Mrs Caroline Frazer
Geoff Alder
Ann Gamble Myer
Peter Atkinson
Daniel & Helen Gauchat
Will & Dorothy Bailey Charitable Gift
Andrea Govaert & Wik Farwerck
Veronika & Joseph Butta
John Grill & Rosie Williams
Caroline & Robert Clemente
Kimberley Holden
Darrel & Leith Conybeare
Angus & Sarah James
Mrs Janet Cooke
Miss Nancy Kimpton
Suellen Enestrom
Elmer Funke Kupper
Bridget Faye am
Alden Toevs & Judi Wolf
Liz & Walter Lewin
AG Froggatt
Geoff Weir
Andrew Low
Kay Giorgetta
Westpac Group
Prudence MacLeod
Louise Gourlay oam
Simon & Amanda Whiston
Anthony & Suzanne Maple-Brown
Warren Green
Shemara Wikramanayake
Jim & Averill Minto
Tony & Michelle Grist
Cameron Williams
John & Anne Murphy
Liz Harbison
Anonymous (6)
Louise & Martyn Myer Foundation
Kerry Harmanis
36
QVB John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Jann Skinner Sky News Australia St George Foundation Jon & Caro Stewart Anthony Strachan Mary-Anne Sutherland
MAESTRO $2,500 – $4,999
VIRTUOSO $1,000 – $2,499
Lachie Hill
Jennifer Aaron
Annette Adair
Christian Holle
Michael Ahrens
Linda Addy
Christopher Holmes
David & Rae Allen
Barbara Allan
Merilyn & David Howorth
DG & AR Battersby
Samantha & Aris Allegos
Penelope Hughes
Beeren Foundation
Jane Allen
Professor Andrea Hull ao
Berg Family Foundation
Philip Bacon am
Sue Hunt
Mr & Mrs Daniel Besen
Lyn Baker & John Bevan
Launa & Howard Inman
Jenny Bryant
Adrienne Basser
John Griffiths & Beth Jackson
Neil & Jane Burley
Dr David and Mrs Anne Bolzonello
Owen James
The Hon Alex Chernoc ac qc & Mrs Elizabeth Chernov
In memory of Peter Boros
Anthony Jones & Julian Liga
Brian Bothwell
Brian Jones
Carol & Andrew Crawford
Benjamin Brady
Bronwen L Jones
Heather Douglas
Vicki Brooke
Mrs Angela Karpin
Anne & Tom Dowling
Diana Brookes
Josephine Key & Ian Breden
Maggie Drummond
Dr Catherine Brown-Watt psm
In memory of Graham Lang
Michele Duncan
Jasmine Brunner
Julia Pincus & Ian Learmonth
John Gandel ao & Pauline Gandel
Sally Bufé
Airdrie Lloyd
Robert & Jennifer Gavshon
Gerard Byrne & Donna O’Sullivan
Gabriel Lopata
Cass George
Andrew & Cathy Cameron
Colin Loveday
Nereda Hanlon & Michael Hanlon am
Terry Campbell ao & Christine Campbell
Peter & Helen Hearl
Ray Carless & Jill Keyte
Reg Hobbs & Louise Carbines
Patrick Charles
Simon & Katrina Holmes à Court
Angela & John Compton
Erica Jacobson
Brooke & Jim Copland
Ros Johnson
R & J Corney
Peter Lovell
Laurie & Julie Ann Cox
The Alexandra & Lloyd Martin Family Foundation
Judith Crompton
Jennifer Senior & Jenny McGee
Ian Davis & Sandrine Barouh
Jane Morley
Michael & Wendy Davis
Nola Nettheim
Martin Dolan
Sandra & Michael Paul Endowment
Dr William F Downey
Perpetual Trustee Company Limited
Daniel Droga
Patricia H Reid Endowment Pty Ltd
Pamela Duncan
Ralph & Ruth Renard
Emeritus Professor Dexter Dunphy am
Mrs Tiffany Rensen
Sharon Ellies
Fe and Don Ross
Dr Linda English
D N Sanders
Peter Evans
Petrina Slaytor
Julie Ewington
Howard & Hilary Stack
Elizabeth Finnegan
L Parsonage
John & Josephine Strutt
Michael Fogarty
Prof David Penington ac
Ralph Ward-Ambler am & Barbara Ward-Ambler
Don & Marie Forrest
GV Pincus
Justin & Anne Gardener
Lady Primrose Potter ac
Richard & Suzie White
Kerry Gardner
Beverley Price
Dr Mark & Mrs Anna Yates
Colin Golvan qc
Mark Renehan
William & Anna Yuille
In memory of Jose Gutierrez
Dr S M Richards am & Mrs M R Richards
Anonymous (5)
Paul Hannan
Warwick & Jeanette Richmond in memory of Andrew Richmond
John Curotta
Gail Harris
Robin Lumley Diana Lungren Garth Mansfield oam & Margaret Mansfield oam Mr & Mrs Greg & Jan Marsh David Mathlin Janet Matton Jane Tham & Philip Maxwell Karissa Mayo Kevin & Deidre McCann Nicholas McDonald Ian & Pam McGaw Colin McKeith Bruce McWilliam Helen & Phil Meddings Michelle Mitchell Glenn Murcutt ao Baillieu Myer ac Stuart Nash Anthony Niardone & Glen Hunter Paul O’Donnell
37
Em Prof A W Roberts am
ClearFresh Water
Megan Lowe
Julia Champtaloup & Andrew Rothery
Paul Cochrane
Rob Mactier
J Sanderson
Spire Capital
Dr & Mrs Donald Maxwell
In Memory of H. St. P. Scarlett
P Cornwell & Cecilia Rice
Kathleen McFarlane
Lucille Seale
John & Gay Cruikshank
H and R McGlashan
Maria Sola
Marie Dalziel
JA McKernan
Keith Spence
Mari Davis
Peter and Ruth McMullin
Mark Stanbridge
Mrs Sandra Dent
Louise Miller
Ross Steele am
In Memory of Raymond Dudley
Marie Morton
In memory of Dr Warwick Steele
Margaret Dunstan
G & A Nelson
Andrew Strauss
M T & R L Elford
Dr G Nelson
Charles Su & Emily Lo
Leigh Emmett
J Norman
Tamas & Joanna Szabo
Christine Evans
Graham North
David & Judy Taylor
Carol Farlow
Robin Offler
Susan Thacore
Penelope & Susan Field
Rob & Kyrenia Thomas
Jean Finnegan & Peter Kerr
Anne Tonkin
Jessica Fletcher
Matthew Toohey
Peter Fredricson
Angus Trumble
Steve Frisken
Ngaire Turner
Sam Gazal
Kay Vernon
Brian Goddard
Rebecca & Neil Warburton
Marilyn & Max Gosling
John Wardle
Jillian Gower
Marion W Wells
Annette Gross
M White
Kevin Gummer and Paul Cummins
Gillian Woodhouse
Hamiltons Commercial Interiors
Don & Mary Ann Yeats
Lesley Harland
Rebecca Zoppetti Laubi
Sandra Haslam
Anonymous (21)
Gaye Headlam
CONCERTINO $500 – $999
Kingsley Herbert
Elsa Atkin am
Dr Marian Hill
Ms Rita Avdiev
Sue & David Hobbs
Lyle Banks
Geoff Hogbin
A & M Barnes
Chloe Hooper
Mrs Kathrine Becker
Bee Hopkins
Robin Beech
Dr & Mrs Michael Hunter
Georgina Summerhayes
Ruth Bell
Margaret & Vernon Ireland
In memory of Dr Aubrey Sweet
Max and Lynne Booth
Robert & Margaret Jackson
Gabrielle Tagg
C Bower
Barry Johnson & Davina Johnson oam
Simon Thornton
Debbie Brady
Caroline Jones
Peter & Karen Tompkins
Denise Braggett
Bruce & Natalie Kellett
TWF Slee & Lee Chartered Accountants
Mrs Pat Burke
Graham Kemp & Heather Nobbs
Dr Ed & Mrs Julie van Beem
Hugh Burton Taylor
Jacqueline & Anthony Kerwick
Joy Wearne
Alberto Calderon-Zuleta
Prof Kerry Landman
GC & R Weir
Jessica Carvell
Genevieve Lansell
Taryn Williams
Angela & Fred Chaney
Philip Lawe Davies
Sally Willis
Dr Roger Chen
Kwong Lee Dow
Sir Robert Woods cbe
Colleen & Michael Chesterman
Ranjeny and John Loneragan
Brian Zulaikha
Richard & Elizabeth Chisholm
Dimitra Loupasakis
Anonymous (36)
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John O’Sullivan Willy & Mimi Packer Anne & Christopher Page Robin Pease Elizabeth Pender Kevin Phillips Michael Power John Prendiville Beverly & Ian Pryer Jennifer Rankin John Riedl Sally Rossi-Ford Robin Rowe Mrs J Royle Christine Salter Garry E Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am Rena Shein Florine Simon Casimir Skillecorn Dr Peter & Mrs Diana Southwell-Keely Fionna Stack
ACO CH A IR M A N’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 am Chairman, Australian Chamber Orchestra & Managing Director, Transfield Holdings Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao
Ms Ann Gamble Myer
Ms Gretel Packer
Mr Daniel Gauchat Principal, The Adelante Group
Mr Jeremy Parham Head of Langton’s, Langton’s
Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr Marc Besen ac & Mrs Eva Besen ao
Mr John Grill ao Chairman, WorleyParsons
Mr John Borghetti Chief Executive Officer, Virgin Australia
Mr Grant Harrod Chief Executive Officer, LJ Hooker
Mr Craig Caesar Mrs Nerida Caesar CEO, Veda
Mrs Janet Holmes à Court ac
Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers
Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Chairman, Johnson Winter & Slattery Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell
Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group
Mr Mark Robertson oam & Mrs Anne Robertson Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner, Crestone Wealth Management Mr Peter Tonagh Chief Executive Officer, FOXTEL Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd
Ms Naomi Milgrom ao
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Ms Jan Minchin Director, Tolarno Galleries
Mr David & Mrs Julia Turner
Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp
Mr Bruce Fink Executive Chairman, Executive Channel International
Mr John P Mullen Chairman, Telstra
Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel
Mr Ian Narev Chief Executive Officer Commonwealth Bank
Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young
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AC O GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund
AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE
Paul Cochrane Investment Advisor, Bell Potter Securities
EVENT COMMITTEES SYDNEY
BRISBANE
Liz Lewin (Chair)
Philip Bacon
Jane Adams
Kay Bryan
Colin Golvan qc
Lillian Armitage
Andrew Clouston
Eleanor Gammell
Ian & Caroline Frazer
Lucinda Cowdroy
Cass George
Bill Best
Shelley Meagher Director, Do it on the Roof
Sandra Ferman
Edward Gray
Maggie Drummond
James Ostroburski
JoAnna Fisher
Wayne Kratzmann
Tony Gill
Joanna Szabo
Fay Geddes
Helen McVay
John Kench Chairman, Johnson Winter & Slattery
Simon Thornton Executive General Manager, Toll IPEC
Julie Goudkamp
Shay O’Hara-Smith
Deb Hopper
Marie-Lousie Theile
Lisa Kench
Beverley Trivett
DISABILITY ADVISORY COMMITTEE
Jules Maxwell
Bruce & Jocelyn Wolfe
Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO & Managing Director, Transfield Holdings
Jennie Orchard Tony O’Sullivan Peter Shorthouse Senior Partner, Crestone Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Ann Gamble-Myer
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Karissa Mayo Edwina McCann Elizabeth McDonald Nicole Sheffield John Taberner Lynne Testoni
Paul Nunnari Manager Event Access & Inclusion NSW Government Alexandra Cameron-Fraser Strategic Development Manager, ACO Dean Watson Customer Relations & Access Manager, ACO
Debbie Brady
PEER R E V IE W PA NEL S EDUCATION PEER REVIEW PANEL Lyn Williams oam Jane Davidson
John Benson Helen Champion
Theo Kotzas Zoe Arthur
Siobhan Lenihan Marshall McGuire Jane Davidson Alan Dodge
Lyn Williams oam Yarmila Alfonzetti Toby Chadd Elaine Armstrong
ARTISTIC PEER REVIEW PANEL Jim Koehne Anthony Peluso John Painter Mary Vallentine ao 40
ACO PA S ACO PAR TRNER T NERS
WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT
PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
EVENT PARTNERS
ACO NE W S
ABOVE LEFT: Richard with Katering chefs Simon Ford and Jonny McKenna and the ‘beer can’ spatchcock. ABOVE RIGHT: Satu and her famous lemon meringue pie.
K ATERING TO A SPECIAL AUDIENCE At the end of April, Richard and Satu hosted a special dinner at their home to thank the very generous donors who supported the TransAtlantic Tour in July and August, enabling us to take the Weimar Cabaret program, featuring Barry Humphries and Meow Meow to audiences in London, Edinburgh and Tanglewood. One of Richard’s many hidden talents is that he is a fantastic cook so guests had the rare treat of being cooked for by Richard himself. Of course, preparing dinner for 30 people and performing a concert for them is no easy task – not even for Richard – so we called on Katering, our longstanding sponsor of more than 12 years, for their culinary support and expertise. Richard had great fun working with Mark White and his team of chefs to devise a ‘typically Richard’ menu which included cockles, pipis and mussels, corned ox tongue and ‘beer can’ spatchcock, followed by Satu’s famous lemon meringue pie. Richard spent several hours in the kitchen at Katering’s Surry Hills’ HQ perfecting his flavour combinations and trialing new ideas.
BELOW LEFT: Jonny McKenna and Maneeca Belbin at work in the makeshift kitchen. BELOW RIGHT: Guests Barry Humphries, Doris and Peter Weiss.
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As usual, Katering did an incredible job on the night to bring Richard’s menu to life in the confines of our makeshift kitchen. Even after so many years of supporting the ACO and catering for our events, Mark and Kate White never cease to amaze us with just how far they will go to make the night a roaring success. katering.com.au
The ACO trusts its events to Katering - why don’t you? Providing a complete service in hospitality: one call • one contact • one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman’s Council Cocktail Party
info@katering.com.au (02) 9319 2700 www.katering.com.au
ONE GREAT PERFORMANCE DESERVES ANOTHER
With 99% coverage of the Australian population, the Telstra Mobile Network performs for the ACO in more places than any other. telstra.com
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Satu Vänskä, Principal Violin
MURAL: MAYA HAYUK PHOTO: CAITLIN WORTHINGTON DESIGN: BRONWYNROGERS.COM WESF1341