Nicole Car Concert Program

NICOLE CAR APRIL 2018

The Cry

Belgiorno Stradivarius

Me As Me

Kate Holden and Satu Vänskä discuss the program

Introducing the latest addition to our fine instrument collection

Steve Dow interviews Nicole Car

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PRINCIPAL PARTNER

COMING HOME IS NICE BUT

TA K I N G OFF IS WHERE THE EXCITEMENT LIVES

P R I N C I PA L PA R T N E R O F AUSTRALIAN CHAMBER ORCHESTRA

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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: Welcome

Program

Musicians

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Players on stage for this performance

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The Cry

‘Belgiorno’ Stradivarius

Me As Me

Kate Holden and Satu Vänskä discuss the program

Introducing the latest addition to our fine instrument collection

Steve Dow interviews Nicole Car

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Program in Short

Libretto Texts

ACO News

Your five-minute read before lights down

Original language and English translations

Keep up to date with the latest

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COVER PHOTO. GEORGES ANTONI | PRINTED BY. PLAYBILL PTY LTD

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UP NEXT...

JUN

Steven Isserlis Plays Shostakovich

The 2018 season continues.

Nationwide performances, rehearsals and long-awaited returns.

APR

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

Penrith Youth Orchestra

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

MAY

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

AUSTRALIAN CHAMBER ORCHESTRA

20 May Joan Sutherland Performing Arts Centre ACO 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 Darwin 16 June Darwin Entertainment Centre After 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 ACO in Tokyo 29 & 30 May Yomiuri Otemachi Hall

Goldberg Variations

The 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.

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

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WELCOME

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 Evans Managing Director Join the conversation

#ACO18

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AUSTRALIAN CHAMBER ORCHESTRA

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Ludwig van Beethoven, Letter to the Immortal Beloved July 6, 1812.

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STEVEN ISSERLIS PLAYS SHOSTAKOVICH 23 JUNE – 4 JULY Canberra, Melbourne, Adelaide, Perth, Sydney

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 & Violin Steven Isserlis Cello

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

Tickets from $49* *Booking fee of $7.50 applies. Prices vary according to venue and reserve.

NATIONAL TOUR PARTNER

GOVERNMENT PARTNERS

PRINCIPAL PARTNER

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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

HANDEL MOZART MOZART BEETHOVEN BEETHOVEN

45 mins prior to the performance See page 42 for details

mins

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

INTERVAL HILDEGARD VERDI PUCCINI (arr. strings) MOZART MOZART

MOZART

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Ave Maria, O auctrix vite Ave Maria from Otello Crisantemi Misera, dove son! – Ah! non son io che parlo, K.369 Andantino grazioso and Presto from Symphony No.27 in G major, K.199 Chi sà, chi sà, qual sia, K.582

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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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8 MUSICIANS The musicians on stage for this performance.

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.

Richard Tognetti

Director and Violin

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.”

“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.

AUSTRALIAN CHAMBER ORCHESTRA

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.

Aiko Goto Violin

“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.

PLAYERS DRESSED BY SABA

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Melissa Barnard

Ilya Isakovich

Cello

Violin

“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.

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.

“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.

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.

PHOTOS. BEN SULLIVAN

Julian Thompson

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-16thcentury Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by Darin Cooper Foundation.

Cello

Ike See

Violin

“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.

“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.

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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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!”

AUSTRALIAN CHAMBER ORCHESTRA

PLAYERS DRESSED BY SABA

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MUSICIANS Thibaud Pavlovic-Hobba

Benjamin Adler Violin

Violin

Thomas Chawner Viola

Olli Leppäniemi# Clarinet

Horn

Courtesy of Sydney Symphony Orchestra

# GUEST PRINCIPAL

Viola

Caroline Henbest Viola

Chair sponsored by peckvonhartel architects

Joel Laakso#

Sally Walker#

Andrew Macleod

Courtesy of The Royal Danish Orchestra

Courtesy of The Conservatorium, University of Newcastle

Courtesy of Melbourne Symphony Orchestra

Cello

Alexei Dupressoir Clarinet

Courtesy of Turku Philharmonic Orchestra

Ben Jacks#

Florian Peelman#

Flute

Jane Gower# Bassoon

Flute

Simone Walters Bassoon

Courtesy of Orchestre Révolutionnaire et Romantique

Jennifer McLeod-Sneyd Horn

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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.

PHOTO. NIC WALKER

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AUSTRALIAN CHAMBER ORCHESTRA

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W

e 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, NATIONAL CONCERT SEASON 2018

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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.

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).

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

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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

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.

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Ludwig van Beethoven, Letter to the Immortal Beloved July 7, 1812.

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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

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.

“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.” 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 AUSTRALIAN CHAMBER ORCHESTRA

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.

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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 PHOTOGRAPHY. NIC WALKER

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

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T

he 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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28 “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.

Me As AUSTRALIAN CHAMBER ORCHESTRA

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Me PHOTOGRAPHY. 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.”

N

icole 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.

Car resists, however, an oftenquoted 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.”

“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.”

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.

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.

“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 NATIONAL CONCERT SEASON 2018

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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.

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

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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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.”

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 followup, 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

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

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

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.”

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PROGRAM IN SHORT Your five-minute read before lights down

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

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.

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

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.

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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was much more than a composer.

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

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.

“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.

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.

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 AUSTRALIAN CHAMBER ORCHESTRA

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.

Celebrating 30 years of partnership This 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.

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LIBRETTO TEXTS Original 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 difesa e 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 defenses And 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 me because 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’adora Così barbara mercè?

Dite voi, se in tanto affanno Non 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 you in such a barbaric way?

Tell me, if in such a grief I do not deserve pity?

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

L’aure del Tebro son queste ch’io respiro?

Per le strade m’aggiro di Tebe e d’Argo?

O dalle greche sponde, di tragedie feconde, le domestiche furie vennero a questi lidi, della prole di Cadmo, e degli Atridi?

Là d’un monarca ingiusto l’ingrata crudeltà m’empie d’orrore: d’un padre traditore qua la colpa m’agghiaccia; e lo 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 barbaro dolore che mi divide il core, che delirar mi fa.

Non cura il ciel tiranno l’affanno, in cui mi vedo: un fulmine gli chiedo, e un fulmine non ha.

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Oh woe is me, where am I? Are these the mists of the Tiber that I’m breathing?

Am I wandering the streets of Thebes and Argo?

Or from Greek shores bursting with tragedies, did the Furies of my homeland come to the lands of the children of Cadmus and Atreus?

There, the unwarranted cruelty of an unjust ruler fills me with horror: Here, the guilt of a treacherous father, makes my blood run cold and I 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 care about 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 Ave Maria piena di grazia, eletta Fra 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 piega La 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!

Hail Mary full of grace, chosen among 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!

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

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!

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

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Pre-Concert Talks

By Anna Melville, Artistic Administrator of the ACO

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

Sydney Opera House

Arts Centre Melbourne

QPAC, Brisbane

Sun 8 April, 1.15pm

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

Mon 16 April, 6.15pm

City Recital Hall, Sydney

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

Perth Concert Hall

Pre-concert speakers are subject to change.

Wed 11 April, 6.45pm

Venue Support ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

CITY RECITAL HALL LIMITED 2–12 Angel Place, Sydney NSW 2000 Administration (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO

AUSTRALIAN CHAMBER ORCHESTRA

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au Professor Peter Coaldrake ao Chair John Kotzas Chief Executive

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.

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

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

Jonny Greenwood Water; Mozart Night Music

Mountain: Original Motion Picture Soundtrack

The first Australianproduced classical vinyl in 20 years

Music from the acclaimed film

Bach | Beethoven: Fugue Gramophone Magazine Editor’s Choice

Celebrating 40 Years

Mozart’s Last Symphonies

Performances spanning the ACO’s history, from Bach to Sculthorpe

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

Available now from ABC Classics Many 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.

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ACO NEWS

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.

AUSTRALIAN CHAMBER ORCHESTRA

TarraWarra Festival 2018 Subscriber Winner Our 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.

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Medici Dinner Last 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

ACO Collective On Tour Supported 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

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

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Behind the scenes

Board

Education

Marketing

Guido Belgiorno-Nettis am

Vicki Norton

Antonia Farrugia

Chairman

Education Manager

Director of Marketing

Liz Lewin

Caitlin Gilmour

Caitlin Benetatos

Emerging Artists and Education Coordinator

Communications Manager

Deputy

Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee Martyn Myer ao James Ostroburski Carol Schwartz am Julie Steiner John Taberner Nina Walton Simon Yeo

Artistic Director Richard Tognetti ao

Administrative Staff Executive Office Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Artistic Operations Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Ross Chapman Touring & Production Coordinator

Nina Kang Travel Coordinator

Bernard Rofe

Finance Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Development Anna McPherson Director of Corporate Partnerships

Jill Colvin Director of Philanthropy

Tom Tansey Events & Special Projects Manager

Penny Cooper Corporate Partnerships Manager

Sarah Morrisby Philanthropy Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado CRM and Marketing Executive

Shane Choi Marketing Coordinator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Christina Holland Office Administrator

Robin Hall Archival Administrator

Australian Chamber Orchestra ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.

Sally Crawford Patrons Manager

Lillian Armitage Capital Campaign Manager

Yeehwan Yeoh Investor Relations Manager

Camille Comtat Corporate Partnerships Executive

Kay-Yin Teoh

In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail PO Box R21, Royal Exchange NSW 1225 Australia

Corporate Partnerships Administrator

Telephone (02) 8274 3800 Box Office 1800 444 444

Librarian

Email

Joseph Nizeti

aco@aco.com.au

Multimedia, Music Technology & Artistic Assistant

Web aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA

Delicious food delivered Made for busy families Meals that move with the seasons, providing the tastiest, locally sourced and highest quality produce available.

All you need to do is heat and serve!

What are you waiting for?

kateringathome.com.au info@kateringathome.com.au kateringathome

GRAND DINING TO MATCH A GRAND PERFORMANCE GPO Grand Theatre Dining offers world-class dining experiences the perfect beginning or ending to a world-class performance.

SUBTERRANEAN BAR & GRILL

BOOKINGS OR ENQUIRIES

02 9229 7700 mail@gpogrand.com www.gpogrand.com

/GPOGrand

@GPOGrand

CRYSTAL BAR BURGER

GPO PIZZA BY WOOD

GPO OYSTER BAR

SOSUMI SUSHI TRAIN

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Acknowledgments ACO Medici Program Medici Patron

Core Chairs

ACO Collective

The late Amina Belgiorno-Nettis

VIOLIN

Pekka Kuusisto

Principal Chairs

Glenn Christensen

Artistic Director & Lead Violin Horsey Jameson Bird

Richard Tognetti ao

Aiko Goto

Artistic Director & Lead Violin Wendy Edwards Peter & Ruth McMullin Louise & Martyn Myer ao Andrew & Andrea Roberts

Terry Campbell ao & Christine Campbell Anthony & Sharon Lee Foundation

Mark Ingwersen Julie Steiner & Judyth Sachs

Ilya Isakovich

Guest Chairs Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Helena Rathbone

The Humanity Foundation

Principal Violin Kate & Daryl Dixon

Friends of Medici

Liisa Pallandi

Satu Vänskä

Mr R. Bruce Corlett am & Mrs Annie Corlett am

Maja Savnik

Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve

The Melbourne Medical Syndicate Alenka Tindale

Ike See Di Jameson

VIOLA

Principal Cello Peter Weiss ao

Ripieno Viola

Maxime Bibeau

Nicole Divall

Principal Double Bass Darin Cooper Foundation

Philip Bacon am Ian Lansdown

CELLO Melissa Barnard Dr & Mrs J. Wenderoth

Julian Thompson The Grist & Stewart Families

ACO Life Patrons 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 The late John Harvey ao

Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr 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 Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer The late Prof. Janet Carr

AUSTRALIAN CHAMBER ORCHESTRA

The late Mrs Moya Crane The late Colin Enderby The late Neil Patrick Gillies The late John Nigel Holman

The late Dr S W Jeffrey am The late Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller

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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 Bardy Ruth Bell David Beswick Dr Catherine Brown-Watt & Mr Derek Watt Sandra Cassell Mrs Sandra Dent Peter Evans Carol Farlow

Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald Mrs Judy Lee John Mitchell Selwyn M Owen Michael Ryan & Wendy Mead

Ian & Joan Scott Cheri Stevenson Leslie C. Thiess Ngaire Turner G C & R Weir Margaret & Ron Wright Mark Young Anonymous (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 Foundation Sam 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 Cook Robert & Jennifer Gavshon Carole A.P. Grace Rohan Haslam Mike & Stephanie Hutchinson

Geoff & Denise Illing Megan Lowe Baillieu Myer ac David Shannon J Skinner

Kim & Keith Spence Christina Scala & David Studdy Mike Thompson Dr Jason Wenderoth Anonymous (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.

Members Clare Ainsworth Herschell Adrian Barrett Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Shevi de Soysa Rebecca Gilsenan & Grant Marjoribanks James Hamilton Ruth Kelly Evan Lawson

Aaron Levine & Daniela Gavshon Royston Lim Gabriel Lopata Rachael McVean Carina Martin Pat Miller Barry Mowszowski Lucy Myer James Ostroburski Nicole Pedler & Henry Durack Kristian Pithie Michael Radovnikovic Jessica Read Rob Clark & Daniel Richardson

Alexandra Ridout Emile & Caroline Sherman Tom Smyth Michael Southwell Tom Stack Helen Telfer Max Tobin Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

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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.

Patron

SONATA $25,000 – $49,999

Peter Weiss ao

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

Board Bill Best (Chairman) Jessica Block John Leece am Julie Steiner John Taberner

Patrons VISIONARY $1M+ Peter Weiss ao LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao OCTET $100,000 – $199,999 John Taberner QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous (1)

SOLO $5,000 – $9,999 PATRON $500 – $4,999 In memory of Lindsay Cleland Merilyn & David Howorth Luana & Kelvin King John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Peter McGovern John & Virginia Richardson Peter & Victoria Shorthouse Robyn Tamke Anonymous (2)

Investors Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best

Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna Dr William Downey Garry & Susan Farrell Gammell Family Daniel & Helen Gauchat Edward Gilmartin Tom & Julie Goudkamp Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven The late Ian Wallace & Kay Freedman Media Super

ACO Special Projects Special Commissions Patrons

Jewish Museum Patrons

ACO UK Supporters

Peter & Cathy Aird Josephine Kay & Ian Bredan Mirek Generowicz Anthony & Conny Harris Rohan Haslam Lionel & Judy King Bruce Lane David & Sandy Libling Robert & Nancy Pallin Team Schmoopy Rebecca Zoppetti Laubi

LEAD PATRON

AMBASSADORS Brendan & Bee Hopkins Rupert Thomas & Kate Rittson-Thomas

PATRONS Marc Besen ac & Eva Besen ao SUPPORTERS The Ostroburski Family Julie Steiner

International Tour Patrons

FRIEND Leo & Mina Fink Fund

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

Emanuel Synagogue Patrons

Linda & Graeme Beveridge Anthony & Sharon Lee Foundation Professor Anne Kelso ao Bruce & Jenny Lane Delysia Lawson Friends of Jon & Caro Stewart Mike Thompson Oliver Walton Anonymous (1)

AUSTRALIAN CHAMBER ORCHESTRA

FRIENDS John Coles John & Kate Corcoran Hugo & Julia Heath Dr Caroline Lawrenson John Taberner Patricia Thomas Paula Bopf & Rob Rankin SUPPORTER Isla Baring

ACO Academy

CORPORATE PARTNERS Adina Apartment Hotels Meriton Group

LEAD PATRONS Louise & Martyn Myer ao

LEAD PATRON The Narev Family

PATRONS Peter Jopling am qc Walter Barda & Thomas O’Neill

PATRONS David Gonski ac Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

SUPPORTER Hilary Goodson

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

MAJOR PRODUCERS Janet Holmes à Court ac Warwick & Ann Johnson

Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf

PRODUCERS Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench

SUPPORTERS Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness

EXECUTIVE PRODUCER Martyn Myer ao

Peter & Janette Kendall Andy Myer & Kerry Gardner Sid & Fiona Myer Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates

European Tour Patrons Philippa & John Armfield Walter Barda & Thomas O’Neill Steven Bardy & Andrew Patterson Chris & Katrina Barter Russell & Yasmin Baskerville David Bohnett & Maria Bockmann Paula Bopf & Robert Rankin Paul Borrud Craig & Nerida Caesar Terry Campbell ao & Christine Campbell Michael & Helen Carapiet Stephen & Jenny Charles Andrew Clouston & Jim McGown John Coles Robin Crawford am & Judy Crawford Graham & Treffina Dowland Dr William F Downey Vanessa Duscio & Richard Evans Terry & Lynn Fern Fitzgerald Foundation Daniel & Helen Gauchat Robert & Jennifer Gavshon Nick & Kay Giorgetta Colin Golvan qc & Debbie Golvan John Grill ao & Rosie Williams

Tony & Michelle Grist Eddie & Chi Guillemette Liz Harbison Paul & April Hickman Catherine Holmes à Court-Mather Simon & Katrina Holmes à Court Family Trust Jay & Linda Hughes Di Jameson Andrew & Lucie Johnson Simon Johnson Steve & Sarah Johnston Russell & Cathy Kane John & Lisa Kench Wayne Kratzmann Dr Caroline Lawrenson John Leece am & Anne Leece David & Sandy Libling Patrick Loftus-Hills & Konnin Tam Dr Wai Choong Lye & Daniel Lye Christopher D. Martin & Clarinda Tjia-Dharmadi Janet Matton & Robin Rowe Julianne Maxwell Nicholas McDonald & Jonnie Kennedy

Andrew & Cate McKenzie Peter & Ruth McMullin Jim & Averill Minto Rany & Colin Moran Usmanto Njo & Monica Rufina Tjandraputra Dr Eileen Ong James Ostroburski Susan Phillips Simon Pinniger & Carolyne Roehm Andrew & Andrea Roberts The Ryan Cooper Family Foundation Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Jennifer Senior & Jenny McGee Peter & Victoria Shorthouse Hilary Stack Jon & Caro Stewart John Taberner Jamie & Grace Thomas Alenka Tindale Dr Lesley Treleaven Beverley Trivett & Stephen Hart Phillip Widjaja & Patricia Kaunang Simon & Jenny Yeo

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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 jill.colvin@aco.com.au.

Program names as at 20 March 2018

Education Patrons

Direttore $5,000 – $9,999

Marc Besen ac & Eva Besen ao Janet Holmes à Court ac

Walter Barda & Thomas O’Neill The Belalberi Foundation Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Suellen & Ron Enestrom Paul & Roslyn Espie Bridget Faye am Vivienne Fried Liz Harbison Annie Hawker John Griffiths & Beth Jackson I Kallinikos The Key Foundation Kerry Landman In memory of Dr Peter Lewin Lorraine Logan Danita Lowes & David File Macquarie Group Foundation David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation Rany Moran Beau Neilson & Jeffrey Simpson Paris Neilson & Todd Buncombe Libby & Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Victoria & Peter Shorthouse J Skinner Sky News Australia Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale Simon & Amanda Whiston Cameron Williams Woods5 Foundation Anonymous (3)

Emerging Artists & Education Patrons $10,000 + Australian Communities Foundation – Ballandry Fund Mr Robert Albert ao & Mrs Libby Albert Geoff Alder Karen Allen & Dr Rich Allen Steven Bardy & Andrew Patterson Rod Cameron & Margaret Gibbs Stephen & Jenny Charles Jane & Andrew Clifford In memory of Wilma Collie Ryan Cooper Family Foundation Rowena Danziger am & Ken Coles am Irina Kuzminsky & Mark Delaney Eureka Benevolent Foundation Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Daniel & Helen Gauchat John Grill ao & Rosie Williams Angus & Kimberley Holden Catherine Holmes à Court-Mather Belinda Hutchinson am & Roger Massy-Greene GB & MK Ilett John & Lisa Kench Miss Nancy Kimpton Anthony & Sharon Lee Foundation Liz & Walter Lewin Andrew Low Anthony & Suzanne Maple-Brown Jim & Averill Minto Servcorp Louise & Martyn Myer Foundation Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski The Bruce & Joy Reid Trust Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao Anthony Strachan Leslie C. Thiess Alden Toevs & Judi Wolf Shemara Wikramanayake Libby & Nick Wright E Xipell Peter Young AM & Susan Young Anonymous (3)

AUSTRALIAN CHAMBER ORCHESTRA

Maestro $2,500 – $4,999 Jennifer Aaron Annette Adair David & Rae Allen Stephen & Sophie Allen Will & Dorothy Bailey Charitable Gift The Beeren Foundation Neil & Jane Burley Caroline & Robert Clemente Laurie & Julie Ann Cox Carol & Andrew Crawford

Anne & Tom Dowling Angelos & Rebecca Frangopoulos In memory of Rosario Razon Garcia Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Warwick & Ann Johnson Peter & Ruth McMullin Roslyn Morgan Jane Morley Jenny Nicol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Kenneth Reed am Ruth & Ralph Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Kathy & Greg Shand Maria Sola Josephine Strutt Susan Thacore Ralph Ward-Ambler am & Barbara Ward-Ambler Don & Mary Ann Yeats Professor Richard Yeo William & Anne Yuille Anonymous (4)

Virtuoso $1,000 – $2,499 Barbara Allan Jane Allen Lillian & Peter Armitage In memory of Anne & Mac Blight David Blight & Lisa Maeorg Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation Graeme & Linda Beveridge Leigh Birtles Jessica Block In memory of Peter Boros Brian Bothwell Vicki Brooke Diana Brookes Dr Catherine Brown-Watt PSM & Mr Derek Watt Stuart Brown

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Virtuoso $1,000 – $2,499 (Continued) Sally Bufé Gerard Byrne & Donna O’Sullivan Ian & Brenda Campbell Ray Carless & Jill Keyte Ann Cebon-Glass Julia Champtaloup & Andrew Rothery Dr Peter Clifton John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare R & J Corney Anne Craig Gay Cruickshank Ian Davis & Sandrine Barouh Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Carmel Dwyer Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Don & Marie Forrest John Fraser Chris & Tony Froggatt Anne & Justin Gardener Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Ian & Ruth Gough Melissa & Jonathon Green Grussgott Trust In memory of Jose Gutierrez Lyndsey Hawkins Kingsley Herbert Lachie Hill Vanessa & Christian Holle Christopher Holmes Michael Horsburgh am & Beverley Horsburgh Penelope Hughes Professor Emeritus Andrea Hull ao Stephanie & Mike Hutchinson Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Michael Kohn Airdrie Lloyd Gabriel Lopata Prof Roy & Dr Kimberley MacLeod Garth Mansfield oam & Margaret Mansfield oam Greg & Jan Marsh Janet Matton & Robin Rowe Kevin & Deidre McCann

Helen & Phil Meddings Jim Middleton Peter & Felicia Mitchell Baillieu Myer ac Nola Nettheim Jenny Nichol Paul O’Donnell Shay O’Hara-Smith Fran Ostroburski Chris Oxley Mimi Packer Leslie Parsonage Rosie Pilat Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am J Sanderson In Memory of H. St. P. Scarlett Jennifer Senior & Jenny McGee Morna Seres & Ian Hill Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Keith Spence Dr Charles Su & Dr Emily Lo David & Judy Taylor Jane Tham & Philip Maxwell Rob & Kyrenia Thomas Anne Tonkin Ngaire Turner Kay Vernon Jason Wenderoth Peter Yates am & Susan Yates Rebecca Zoppetti Laubi Anonymous (21)

Concertino $500 – $999 Mr & Mrs H T Apsimon Juliet Ashworth Elsa Atkin am Rita Avdiev Christine Barker Helen Barnes In memory of Hatto Beck Mrs Kathrine Becker Ruth Bell Elizabeth Bolton Lynne & Max Booth Carol Bower Denise Braggett Mrs Ann Bryce Henry & Jenny Burger Mrs Pat Burke Josphine Cai Helen Carrig Connie Chaird Angela & Fred Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Richard Cobden sc Dr Jane Cook John Curotta Marie Dalziel Mari Davis Rosemary Dean Kath & Geoff Donohue

Jennifer Douglas In Memory of Raymond Dudley Agnes Fan Susan Freeman Louisa Geddes M Generowicz Paul Gibson & Gabrielle Curtin Don & Mary Glue Sharon Goldie Colin Golvan qc & Debbie Golvan Mrs Megan Grace Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland Paul & Gail Harris Sue Harvey Gaye Headlam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Richard Hunstead Geoff & Denise Illing Caroline Jones Phillip Jones Irene Kearsey & Michael Ridley Bruce & Natalie Kellett Megan Lowe Diana Lungren Dr & Mrs Donald Maxwell HE & RJ McGlashan J A McKernan Claire Middleton Andrew Naylor G & A Nelson Nevarc Inc. Robyn Nicol Robin Offler Sue Packer Effie & Savvas Papadopoulos Ian Penboss Elizabeth Pender Helen Perlen Kevin Phillips Denis & Erika Pidcock Beverly & Ian Pryer Jennifer Rankin Jedd Rashbrooke Michael Read Joanna Renkin & Geoffrey Hansen Alexandra Ridout Jennifer Royle Irene Ryan & Dean Letcher qc Trish Ryan & Richard Ryan ao Scott Saunders Garry Scarf & Morgie Blaxill Marysia Segan David & Daniela Shannon Agnes Sinclair

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ACO National Education Program Concertino $500 – $999 (Continued) Ken Smith Brian Stagoll Patricia Stebbens Ross Steele am Cheri Stevenson Nigel Stoke Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Dr Niv & Mrs Joanne Tadmore

Gabrielle Tagg TWF Slee & Lee Chartered Accountants Visionads Pty Ltd Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe Kathy White

James Williamson Sally Willis Janie Wittey Dr Mark & Mrs Anna Yates Gina Yazbek LiLing Zheng Anonymous (25)

Heather Ridout ao (Chair)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

ACO Committees Sydney Development Committee

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs Group Chief Risk Officer CBA

Jennie Orchard Peter Shorthouse

Gauri Bhala

Senior Partner Crestone Wealth Management

CEO Curious Collective

Nina Walton

Melbourne Development Committee Colin Golvan qc

James Ostroburski

Susan Thacore

Peter McMullin

CEO Kooyong Group

Peter Yates am

Chairman McMullin Group

Rachel Peck Principal peckvonhartel architects

Martyn Myer ao Chairman, Cogslate Ltd President, The Myer Foundation

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Disability Advisory Committee Morwenna Collett

Sally Crawford

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Patrons Manager, ACO

Customer Relations & Access Manager, ACO

Alexandra Cameron-Fraser

Education Manager, ACO

Vicki Norton

Chief Operating Officer, ACO

Event Committees Sydney Judy Crawford (Chair) Lillian Armitage Lucinda Cowdroy Sandra Ferman Eleanor Gammell Fay Geddes

Lisa Kench Julianne Maxwell Karissa Mayo Rany Moran John Taberner Lynne Testoni

AUSTRALIAN CHAMBER ORCHESTRA

Brisbane Philip Bacon Kay Bryan Andrew Clouston Dr Ian Frazer ac Mrs Caroline Frazer Cass George

Wayne Kratzmann Shay O’Hara-Smith Marie-Louise Theile Beverley Trivett

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ACO Government Partners We thank our 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 Create NSW.

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 am

Mr Daniel Gauchat

Mr Ian Narev

Chairman, ACO

Principal, The Adelante Group

Mr Matthew Allchurch

Mr Robert Gavshon & Mr Mark Rohald

Chief Executive Officer Commonwealth Bank

Partner, Johnson Winter & Slattery

Mr Philip Bacon am

Quartet Ventures

Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am

Director, Philip Bacon Galleries

Mr James Gibson

Mr David Baffsky ao

Chief Executive Officer Australia & New Zealand BNP Paribas

peckvonhartel architects

Mr John Grill ao & Ms Rosie Williams

Ms Margie Seale & Mr David Hardy

Mrs Janet Holmes à Court ac

Mr Glen Sealey

Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti ao Chief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney ao

Mr Simon & Mrs Katrina Holmes à Court

Mr Tony Shepherd ao

Mr Andrew Low

Mr Peter Shorthouse

Mr David Mathlin

Senior Partner Crestone Wealth Management

Ms Julianne Maxwell

Mr Noriyuki (Robert) Tsubonuma

Mr Michael Maxwell Ms Naomi Milgrom ao

Mr Robin Crawford am & Mrs Judy Crawford

Ms Jan Minchin

Rowena Danziger am & Kenneth G. Coles am

Mr Jim & Mrs Averill Minto

Executive Chairman Executive Channel Holdings

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Chief Operating Officer Maserati Australasia & South Africa

Observant

Chairman, Wesfarmers

Mr Bruce Fink

Mrs Carol Schwartz am

Director, Tolarno Galleries

Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao 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

Ms Ann Gamble Myer

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ACO Partners We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS Janet Holmes à Court AC Marc Besen AC & Eva Besen AO Holmes à Court Family Foundation The Ross Trust

AUSTRALIAN CHAMBER ORCHESTRA

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