ACO 40: The Fortieth Year book preview

WHEN YOU’RE PERFORMING AND THINGS Cover ARE GOING WELL AND YOU DON’T HAVE MONSTERS ON YOUR SHOULDER OR YOUR STRING HASN’T BROKEN, OR SOMEONE’S DONE SOMETHING WRONG, BU T THINGS ARE GOING WELL, YOU ARE VERY MUCH IN THAT SPACE. R IC HA R D T O G N E T T I

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Max Bibeau, Bondi Icebergs Pool, Sydney.

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real highlight for me in my time with the ACO was my first performance at Carnegie Hall.

I was incredibly nervous but it was incredible!

Such a buzz!

CHRISTOPHER MOORE

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was born near Tokyo. I am the grand-niece of Dr Suzuki. I knew him but he didn’t teach me.

I started playing when I was three.

AI KO GOTO

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Members of the ACO in Hong Kong for performances in November 2015.

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CO Underground was formed as an experiment, suggested by audience and musicians, to be more experimental in our programming.

We took the music out of the concert hall and into a sweaty club, sometimes literally under the ground.

S AT U VĂ„ N S K Ă„ , DIRECTOR, ACO U N D ERG RO U N D

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Glenn Christensen and Ike See warming up before a performance at Uluru, Central Australia.

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hether it’s Wollongong Town Hall or Carnegie Hall, that force, that energy, that combination of all these individuals and soloists and personalities thrown together is what it’s all about.

T I M O -V EI K KO VA LV E

ACO and guest artists on tour, Central Australia, October 2015 80

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e have sponsored the ACO to play in Paris, Brussels and Japan.

They have always thrilled the audience.

I don’t feel that doing this is generous: they do as much for this country as any other institution.

ALF MO UFARRIGE , PAT RO N

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ACO members backstage at Carnegie Hall, New York City.

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have no particular connection with Gallipoli except that I was asked as school Vice Captain at Homebush Boys High School in 1972 to make a speech on Anzac Day. I made a speech saying I thought it represented the worst things about Australia. I’ve since matured and I thought this collaboration with the ACO would be a wonderful opportunity to open up the meaning of this ritual and this symbol, to lead audiences through what the experience might have been for the Turkish families as much as it was for Australian families.

N EI L A R M F I ELD AO, DIRECTOR, R EF LE C T I O N S O N G A LLI P O LI

A century on from the Gallipoli campaign the ACO invited the distinguished director Neil Armfield to make his debut with the Orchestra in a commemorative concert that combined film, spoken word and music.

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GUIDO BELGIORNO-NETTIS RICHARD TOGNETTI S AT U V Ä N S K Ä H E L E NA R AT H B O N E C H R I S T O P H E R (C H R I S) M O O R E T I M O - V E I K KO ( T I P I ) VA LV E MAXIME BIBEAU THE ACO:IN THEIR WORDS MARGARET THROSBY A I KO G O T O MARK INGWERSEN I LY A I S A K O V I C H IKE SEE GLENN CHRISTENSEN L I I S A PA L L A N D I ALEXANDRU-MIHAI (S A S C H A) B O T A N I C O L E ( N I K K I ) D I VA L L JULIAN THOMPSON M E L I S S A BA R NA R D 122

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