danielle de niese program

2012 NATIONAL CONCERT SEASON

DANIELLE DE NIESE

NATIONAL TOUR PARTNER

Universal Music Australiawelcomes

DANIELLE DE NIESE “A voice seductive enough to woo gods as well as mortals”

The New York Times

Available at the venue and from all good music retailers

THE MOZART ALBUMMozart’s most beautiful and thrilling arias for

soprano, personally selected by Danielle, conductedby Sir Charles Mackerras, and featuring Danielle’s

stunning performance of Exsultate, jubilate.

BEAUTY OF THE BAROQUE Favourite arias from the English, German, and Italian

traditions, including Handel’s “Ombra mai fu” andhighlights from Bach Cantatas are contrasted with

solo songs by Purcell and Dowland, much lovedItalian arias and sacred works.

MONTEVERDI: L'INCORONAZIONE DI POPPEA (DVD)Following on from her tremendous success in

Giulio Cesare, Danielle De Niese returns toGlyndebourne as the title role of Monteverdi’s

masterpiece, in a brand new production byacclaimed director Robert Carsen.

HANDEL ARIASDanielle love affair with Handel’s vocal music is

showcased in this selection of arias which perfectlydisplay her wide dramatic range, charisma and

freshness. Revered Handel specialist William Christie conducts Les Arts Florissants.

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The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound.

Handcrafted in 1759. Rockin’ out in 2012.

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NATIONALTOUR PARTNER On behalf of BNP Paribas, I’m delighted to welcome

you to the Danielle de Niese tour by the Australian

Chamber Orchestra (ACO).

At BNP Paribas, we have a long tradition of supporting

performing arts around the world and encouraging

those, such as the ACO, who embody our core values

of ambition, creativity and commitment. Each year

that we continue to support the ACO, we are inspired

by their individuality, unique artistic style and creative

vision.

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We are delighted to bring you this ACO tour and

welcome Danielle de Niese back to Australia for her

professional debut in her home country. We trust that

you will enjoy it immensely.

DIDIER MAHOUTCEO, BNP PARIBAS AUSTRALIA & NEW ZEALAND

NATIONAL TOUR PARTNER

AUSTRALIAN CHAMBER ORCHESTRA 3

SPEED READToday’s program offers a melding of auspicious, memorialising, and mournfully prescient, yet poignant themes.

2012 marks the centennial of the late Australian author Patrick White’s birth, and lauded composer Carl Vine’s The Tree of Man was composed with text from the fi nal chapter of the Nobel Prize-winning author’s novel of the same title. The novel is considered a towering literary achievement, one that “views man’s life in the wilds of Australia with grandeur and simplicity”. New York Times. Melbourne-born soprano Danielle de Niese is the featured soloist on this work, and makes her Australian debut with these concerts.

Mozart’s virtuosic Exsultate jubilate dates from 1773, when the 16-year-old composer travelled to Milan with his father to oversee the production of his opera Lucio Silla. It was only two years later that Mozart’s brief yet theatrical Symphony K.196/121, which opens the program, had its beginnings in a trip the young composer made to Munich (again with his father) to watch over the premiere of his new opera La fi nta giardiniera.

The late Australian composer Richard Meale’s elegiac Cantilena Pacifi ca is based on the fi nal movement from his second string quartet. The quartet originated as a memorial to Meale’s very close friend Stephen Wilson, who passed away quite unexpectedly after a sudden onset of cancer.

Schubert composed over 60 solo songs in 1817, and “Death and the Maiden”, D.531 is perhaps one of the most mournfully gorgeous among them, with a poetic dialogue recounting a dying young woman’s acceptance of death. Schubert’s terminal ailments undoubtedly infl uenced his String Quartet in D Minor, D.810 (1824). In the quartet’s second movement, he directly quotes musical material from his earlier song, yet in this instance it is the composer himself who is grappling with his fate. Both of these works are performed with string orchestra with arrangements by artistic director Richard Tognetti.

© Alan J Benson

TOUR THREEDANIELLE DE NIESERICHARD TOGNETTI Artistic Director & Lead Violin

DANIELLE DE NIESE Soprano

Cover photo: Christopher Moore © Jamie Williams

Th e Australian Chamber Orchestra reserves the right to alter scheduled artists or programs as necessary.

Approximate durations (minutes):8 – 11 – 8 – 17 – INTERVAL – 3 - 39Th e concert will last approximately two hours including a 20-minute interval.

WOLLONGONGTown HallTh u 7 Jun 7.30pm

SYDNEYCity Recital Hall Angel PlaceSat 9 Jun 7pmTue 12 Jun 8pmWed 13 Jun 7pm

MELBOURNETown HallSun 17 Jun 2.30pmMon 18 Jun 8pm

ADELAIDETown HallWed 20 Jun 8pm

SYDNEYOpera HouseSun 24 Jun 2pm

BRISBANEQPACMon 25 Jun 8pm

MOZARTSymphony in D major, K.196/121,“La fi nta giardiniera”VINETh e Tree of Man[WORLD PREMIERE]

MEALE Cantilena Pacifi caMOZARTExsultate jubilate, K.165

I N T E R VA L

SCHUBERT (arr. Tognetti)Death and the Maiden, D.531 SCHUBERT (arr. Tognetti)String Quartet No.14 in D minor, D.810 “Death and the Maiden”

Danielle de Niese will be signing CDs in the foyer after the these concerts:City Recital Hall – Sat 9 & Tue 12 Jun | Melbourne – Sun 17 Jun Adelaide – Wed 20 Jun | Sydney Opera House – Sun 24 JunBrisbane – Mon 25 Jun


MESSAGE FROM THE GENERAL MANAGER

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ACO ON THE RADIO

2MBS FMWed 4 July — Interview with a musician from the Trout Quintet & Quartet for the End of Time concert

NEXT TOUR

Trout Quintet & Quartet for the End of Time11—24 July

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PRE-CONCERT TALKSFree talks about the concert take place 45 minutes before the start of every concert at the venue.

Th e Australian Chamber Orchestra is thrilled to present the professional Australian debut of soprano Danielle de Niese. Danielle won Young Talent Time at the age of nine before moving with her family to Los Angeles. Now a highly sought after artist with a huge international career, Danielle brings a specially tailored program to this national tour, encompassing Mozart, Schubert and the world premiere of Carl Vine’s Th e Tree of Man, using a text by Patrick White, whose centenary falls this year.

We are deeply grateful to BNP Paribas for supporting this national subscription tour. On this occasion, BNP Paribas’s generosity enables us to bring the superb artistry of Danielle de Niese to audiences at nine concerts in Adelaide, Brisbane, Melbourne, Sydney and Wollongong, fulfi lling our goal to be Australia’s truly national orchestra.

Somehow, in between rehearsals and performances with Danielle de Niese, Richard Tognetti is also fi nding time this month to put the fi nishing touches on music and footage for Th e Reef – the next instalment in a series of projects combining surf and oceanic imagery with live music. Last month, Richard and a fi lm crew spent two weeks at the Ningaloo Reef on the north coast of Western Australia, fi lming wave and surf action, underwater scenes and arid landscapes while simultaneously creating the accompanying score. Th e result is about to go on the road, with Richard leading ACO2 on an extraordinary tour from Darwin, around the northwest of the country to Perth and fi nally to the Sydney Opera House. Plans are in place for Th e Reef to be performed in other capital cities in 2013 as well as on tour internationally, but in the meantime we are especially thrilled that ABC TV is capturing the Perth performance for a national telecast later in the year.

Visit our new website at aco.com.au

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

6 AUSTRALIAN CHAMBER ORCHESTRA

MOZART

Mozart in brief

In the broadest terms, Mozart’s brief life can be divided into two general periods. In his fi rst 25 years, the young composer chafed under the infl uence of his conservative father and the unsympathetic and constrictive rule of his employer, the Prince-Archbishop of Salzburg. Feeling that his talents and originality were being wasted in an unsophisticated musical backwater, Mozart was fi lled with wanderlust and resentment. He made multiple tours of Europe hoping to fi nd more fulfi lling employment (and even resigned his Salzburg position briefl y) but in every case returned to his hometown unsuccessful. In 1781, the frustrated composer fi nally left Salzburg for good (given a fond farewell by way of a literal “kick in the ass” as decreed by the Archbishop) and settled in Vienna, a cosmopolitan paradise by comparison, where he would take the revolutionary step of establishing himself as an independent artist, relying solely on the incomes of his work rather than the support of a patron.

Mozart would soon learn that his newfound freedom was a double-edged sword. Th ough he did indeed receive signifi cant acclaim and achieve many successes, the public was fi ckle, and Mozart often found himself scraping by, hoping that the next piece or the next concert would be enough to keep him out of debt. We remember him now as a master of virtually every signifi cant musical genre of his time, but in Vienna his livelihood rested chiefl y on his works for the theatre and his renown as a composer of and soloist in keyboard concertos. By the end of the 1780s, Mozart’s star had waned, and the economic conditions of the city had declined with the outbreak of the Austro-Turkish War. He began borrowing heavily from friends, and though he continued to compose works of genius—albeit at a slower pace – he was unable to make ends meet. By the time his fi nancial woes fi nally began to lessen in 1791, bringing renewed creative energy and productivity, he had just months left to live. Mozart fell ill in September, and his health grew steadily worse until his death in the early-morning hours on December 5, at age 35.

Wolfgang Amadeus MOZART (b. Salzburg 1756 — d. Vienna 1791)

Mozart, who began as one of history’s most gifted child prodigies, quickly developed into one of history’s greatest composers; though he only lived to age 35, he mastered virtually every compositional genre of his time. Today, he is recognised both as the epitome of the Classical style and one of music’s great innovators.


Symphony in D Major, K.196/121, La fi nta giardiniera(Composed 1774–1775)

Allegro moltoAndantino graziosoAllegro

Mozart’s two works on this program date from when the composer was still a teenager, before his move to Vienna. Th e succinct D Major Symphony, K.196/121, has its roots in a trip Mozart and his father, Leopold, made to Munich in 1775 to oversee the production of the young composer’s new opera La fi nta giardiniera (Th e Pretended Gardener-Girl). Rarely performed now, La fi nta giardiniera is an opera buffa telling the convoluted story of the Marchesa Violante, disguised as a gardener, who hopes to reconcile with her ex-lover, Count Belfi ore, who stabbed her in the midst of an argument and believes her dead. Shenanigans ensue, including a scene in which both lovers go mad and become convinced they are Greek gods, but of course they resolve their diff erences and all ends well. Mozart’s trip, too, ended happily, as he explained enthusiastically in a letter detailing the reception of the opera: “After each aria there was a terrific noise, clapping of hands, and cries of ‘Viva Maestro.’ People kept on clapping all the time and shouting ‘Bravo.’ ”

Th e present symphony evolved from La fi nta giardiniera’s two-part overture, which supplied the music for the fi rst two movements – not at all a surprising leap, considering the concert symphony genre (young at this time) itself began as an expansion of the theatre overture, which was often called a sinfonia. Mozart wrote the third and fi nal movement for the symphony at a diff erent time, most likely later in 1775. Th ere is some doubt about this date, as scholars discovered that the paper used for the fi nal movement was acquired by Mozart in Milan during a journey two years earlier – during which he composed Exsultate jubilate to be performed later on this program – but the most likely scenario is that he simply had some left over. Lightly scored for pairs of oboes and horns, strings, and continuo, this sprightly, youthful work, which proudly shows its theatrical roots, is a natural curtain raiser.

Glossary

opera buffa: term applied to the genre of comic opera during its prevalence throughout Italy and Europe in the 18th century.

ACO performance history

This subscription tour marks the fi rst ACO performance of Mozart’s Symphony in D Major, K.196/121.


© K

aren

Ste

ans VINE

Th e Tree of Man (Composed 2012)

Th e composer writes:

I was delighted when the Australian Chamber Orchestra invited me to compose something to celebrate the centenary of Patrick White’s birth in 2012. I came to know Patrick while writing music for several of his stage plays in the 1980’s. At that time I also composed a concert aria, prosaically titled Aria (1984), using text White wrote as a preliminary essay for an opera that he dearly wanted to create, but which never materialised.

My favourites among White’s novels are Th e Vivisector and Th e Tree of Man. Both sit for me near the pinnacle of English literature, but the latter kindly provides, in its short fi nal chapter, a concise summary, not of the action of the rest of the book, but somehow of its very essence.

Old Stan Parker has died, leaving his estranged, curious and imaginative grandson wandering through the unmistakably ‘Australian’ patch of land that infused the old man’s life. Both characters represent aspects of White. Th e elder spent a lifetime navigating the terrible complexities arising from the simplest human interactions; the younger seeks to convert the inexpressibility of life into words.

Th e language of chapter 26 is stunningly evocative while using remarkably simple vocabulary. It symbolises in prose the very poem that the boy vows to write. I wanted to avoid setting the whole thing as ‘Recitative’, the operatic form that uses staggering rhythms to denote words spoken ‘naturally’. Fortunately, the text is full of lilting, natural and repetitive rhythms, which I have heightened with simple step-wise melody and accompaniment that emphasises its regularities. Although this setting contains little plain triadic harmony, I have endeavoured to refl ect, in every aspect of the music, the simplicity and sincerity of the novel’s language.

It is dedicated to Danielle de Niese, and was written in memory of Patrick White (1912–1990).

CARL VINE, JANUARY 2012

Carl VINE(b. Perth, 1954)

Eminent Australian composer Carl Vine began his musical life as an instrumentalist, playing cornet, piano and organ, as well as composing from age 10. Vine won his fi rst composition competition at age 16, and was commissioned by the West Australian Ballet while still studying in school. Throughout his career, Vine has written for a wide range of ensemble types and mediums: his earlier style was marked by an interest in electronics and with ensemble culture in Australia, and he has produced a number of works for dance, theatre, television, fi lm, and concert performance. Vine was composer in residence with the Sydney Dance Company, during which time he composed the music for Poppy (1978), the fi rst full-length dance work produced wholly within Australia. He has also held residencies with the London Contemporary Dance Theatre, NSW State Conservatorium, the Western Australia Conservatorium, and the Australian Chamber Orchestra. Vine has previously penned numerous commissions for the ACO, including: XX (2009), Pipe Dreams (2003) and Smith’s Alchemy (2001).

Carl Vine has been artistic director of Musica Viva since 2000.


Th e Tree of Man

In the end there are the trees. Th ese still stand in the gully behind the house, on a piece of poor land that nobody wants to use. Th ere is the ugly mass of scrub, full of whips and open secrets. But there are the trees, quite a number of them that have survived the axe, smooth ones, a sculpture of trees. On still mornings after frost these stand streaming with light and moisture, the white and the ashen, and some the colour of fl esh.

…Th ere is silence, and a stone lizard. And a dog that has died recently. …Th e dusty dog lying with his muzzle turned sideways on his paws in perfect simplicity of death.

Th e rather leggy, pale boy comes down later into the bush. He is mooning there, and rubbing his forehead against the bark of trees. He is breaking twigs, and making little heaps of sticks in various patterns. He is writing in the sand, and expecting precious stones in the surfaces of rocks.

…He would write a poem, he said, dragging his head from side to side in the sand. …He would write a poem of life, of all life, of what he did not know, but knew. Of all people, even the closed ones, who do open on asphalt and in trains.

He would make the trains run on silver lines, the people still dreaming on their shelves, who will wake up soon enough and feel for their money and their teeth. Little bits of coloured thought, that he had suddenly, and would look at for a long time, would go into his poem, and urgent telegrams, and the pieces of torn letters that fall out of metal baskets.

…His poem was growing. It would have the smell of bread, and the rather grey wisdom of youth, and his grandmother’s kumquats, and girls with yellow plaits exchanging love-talk behind their hands, and the blood thumping like a drum, and red apples, and a little wisp of white cloud that will swell into a horse and trample the whole sky once it gets the wind inside it.

As his poem mounted in him he could not bear it, or rather, what was still his impotence. And after a bit, not knowing what else to do but scribble on the already scribbled trees, he went back to the house in which his grandfather had died, taking with him his greatness, which was still a secret.

So that in the end there were the trees. Th e boy walking through them with his head drooping as he increased in stature. Putting out shoots of green thought. So that, in the end, there was no end.

© PATRICK WHITE 1956


MEALECantilena Pacifi ca(Composed 1979)

Australian composer Richard Meale received a wealth of formal music education, having studied piano, clarinet, harp, history, and theory at the NSW State Conservatorium of Music, and non-Western music – chiefl y Japanese court music and Javanese and Balinese gamelan – at University of California, Los Angeles, but as a composer, he remained self-taught. Th roughout his career, Meale was a prominent advocate for new music in Australia, giving early performances of works by many avant-garde composers, including Boulez, Messiaen, Busoni, and Schoenberg; for seven years in the 1960s, he curated Asian and contemporary music radio programs for the ABC. Meale’s own music embraced a broad range of musical styles, from his neo-Romantic early works, to increasingly daring and modernistic music from the late 50s and early 60s, through atonal, serial, and experimental pieces in the late 60s and 70s, and fi nally a late period largely characterised by a simplifi cation in style and rediscovery of lyrical melody.

Cantilena Pacifi ca, performed here as a free-standing concert work for violin and strings, originated as the fi nal movement of Meale’s String Quartet No.2, a work that emerged from the dilemma – a growing sense that his devotion to edgy, self-conscious modernism had begun to overshadow honest artistic expression – that led to the composer’s stylistic softening later in his life. “Th e problem that I was encountering was brought to a head in 1979 when I began my Second String Quartet. Sadly, my best friend, Stephen Wilson, died after a sudden onset of cancer. It now became a matter of necessity to write a piece that would be a memorial to him. So it became clear that the work could not be based on any artifi ce; its existence had to lie in its emotional truth.” Cantilena Pacifi ca became that memorial, and it exudes emotional truth. An extended outpouring of elegiac melody, the work unfolds at a funeral pace and seems at times to meander aimlessly in its grief. Th e juxtaposition of the solo violin’s straight 4/4 meter with the accompaniment’s 12/8 (breaking each beat into three parts) sets the mournful melody against a slowly swaying undercurrent of muffl ed sobs.

Richard Meale was one of Australia’s leading advocates for and composers of avant-garde music in the 20th century. Educated in performance and musicology in Sydney and at University of Callifornia, Los Angeles, Meale remained a self-taught composer and explored a broad range of musical styles, from neo-Romanticism to serialism to Balinese gamelan, over the course of his 40+ years at the forefront of Australia’s music scene.

Richard MEALE (b. Sydney 1932 — d. Sydney 2009)


The ACO has performed Cantilena Pacifi ca once before, in 2006 with Helena Rathbone as soloist.


MOZARTExsultate jubilate, K.165(Composed 1773)

AllegroAndanteMolto allegro

Like the D Major Symphony, K.196/121, Mozart’s Exsultate jubilate owes its existence to one of the composer’s operas, but this time it was a singer’s voice rather than the composer’s own music that provided the inspiration. Th e piece emerged in January 1773 – when the composer was just shy of his 17th birthday – at the tail end of an earlier trip made by Wolfgang and Leopold, once again to preside over the premiere of one of the young composer’s operas. Th is time, the destination was Milan, and the opera was Wolfgang’s third in Italian, Lucio Silla, which had its premiere the day after Christmas, 1772. It was a busy visit. When Mozart arrived in Milan in early November, he had written the recitatives but had to wait for the arrival of the cast to compose the arias, which were to be tailored specifi cally to the particular strengths of the singers. Th e most important of these was the famous castrato Venanzio Rauzzini, who played the title character and was not only an accomplished singer, but also a pianist and composer. Over the course of the production, Mozart’s working relationship with Rauzzini evolved into a friendship that was to last many years.

Inspired by the castrato’s singing – which Leopold described as being like that of an angel – in the premiere of Lucio Silla, Mozart immediately began work on Mozart’s Exsultate, a motet once again designed specifi cally for Rauzzini’s voice. (It is also quite possible that Rauzzini provided the text for the piece, as it is written in a Bavarian style of Latin that matches what was used in Munich, where Rauzzini was the leading court singer.) Th e two men did not leave themselves much time for composition and rehearsal; though they had not begun work by the turn of the year, the fi rst performance was scheduled for January 17 at Milan’s Th eatine Church of San Antonio. As usual, Mozart made the deadline by the skin of his teeth.

Th e term motet is one of the most slippery of musical labels, changing drastically and often in meaning since its fi rst use in 13th-century France. But according to Johann Quantz, a musical scholar of Mozart’s time, “In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives, concluding with an Hallelujah, and sung during the Mass following the Credo, generally by one of the best singers.” Mozart’s motet is short

Mozart, 1770


The ACO has performed Mozart’s Exsultate jubilate only once before, in a 2004 subscription tour, featuring soprano Emma Matthews.


one recitative, but otherwise fulfi ls these expectations. And judging by the music of Exsultate jubilate, Rauzzini was considerably more than “one of the best singers” at your average 18th-century church. Th e work demands much of its soloist: a full soprano range (including exposed, sustained notes at both extreme ends), wide leaps of pitch, intricate coloratura, and long-breathed legato passages. In short, the music asks for no less than what would be required of the leading role in one of Mozart’s early Italian operas – not surprising considering the origin of the work and Mozart’s penchant for theatrical writing even in sacred music.

Exsultate jubilate also points the way toward a genre that Mozart would revolutionise and in which he would write much of his fi nest music: the instrumental concerto. With its three movements in fast-slow-fast arrangement (treating the extremely brief recitative as a prelude to the middle movement), the motet already conforms to the most familiar concerto structure, and Mozart utilises the capabilities of the voice as comprehensively as he would any other solo instrument in his later concertos. Exsultate jubilate even provides the singer with a cadenza at the end of the fi rst movement, just where one would expect to fi nd it in a concerto. Listening to the combination of beautiful melody, virtuosic display, formal ingenuity, and cheerful enthusiasm, it is not diffi cult to hear the sounds of Mozart’s fi ve violin concertos, all of which would be written within the next three years.

Exsultate jubilate AriaExsultate, jubliate Rejoice, shout,o vos animae beatae, O you blessed souls, dulcia cantica canendo singing sweet hymns; cantui vestro repondendo responding to your song psallant aethera cum me. the skies sing psalms with me.

RecitativoFulget amica dies, iam fugere Th e friendly daylight shines, et nubile et procellae; both clouds and storms have now fl ed; extorus est iustis for the righteous inexpectata quies. an unexpected calm has come.Undique obscura regnabat nox, Everywhere dark night reigned; surgite tandem laeti, rise up at last in gladness, qui timuistis adhuc, you who were afraid till now, et iucundi aurorae fortunatae and joyfully present frondes dextera plena to the happy dawn et lilia date. handfuls of lilies.

AriaTu virginum corona, Crown of all virgins, tu nobis pacem dona. grant us peace.Tu consolare aff ectus, You console the griefs unde suspirat cor. which make the heart sigh.Alleluia Alleluia


SCHUBERTDeath and the Maiden, K.531(Composed 1817)

Arranged by Richard Tognetti

Schubert was a dizzyingly gifted composer who wrote a seemingly impossible amount of music over the course of his tragically abbreviated 31-year life. In 1813, the 16-year-old composer fi nished his studies at the Choir School of the Imperial Chapel in Vienna, and having no way to support himself, reluctantly moved back in with his father, a school director, who gave him a job as a teacher. Unfortunately, Schubert had no interest in the profession and was thoroughly miserable. Still, he found time to compose and somehow managed to produce nearly 400 works – songs, string quartets, choral pieces, chamber music, and symphonies – in the three years he spent teaching full time.

In the fall of 1816, when Schubert fi nally made the decision not to return to work at his father’s school, he found lodging with his well-to-do friend Franz von Schober, who lived in luxurious apartments with his mother and sister in Vienna’s city centre. Paradoxically, during the year he spent with the Schobers, free of the obligations of a full-time job, Schubert’s miraculous rate of composition slowed signifi cantly: in 1817, Schubert wrote “only” about 60 solo songs. But among these are some of the composer’s most inspired and inspiring creations, including the endearingly simple paean to music “An die Musik” (on a poem by Schober), the evocatively pastoral “Ganymed,” and this haunting musical dialogue between a dying young woman and Death itself, “Der Tod und das Mädchen” (“Death and the Maiden”).

Just a single page of music lasting barely two and a half minutes, “Death and the Maiden” is a breathtakingly poignant example of what makes Schubert history’s greatest composer of art song: the ability to achieve maximum dramatic impact with minimal means. Th e text is based on a poem of the same name by Matthias Claudius (1740–1815), in which a maiden panics at the sight of Death and begs him to spare her life. But Death, here, is not a cruel and unfeeling spectre, rather replying to the young lady that he has come to comfort and guide her to peaceful, eternal rest.

Schubert divides his song in three sections. In the fi rst, for piano (or in this case, orchestra) alone, we hear Death approaching. If the music sounds vaguely (or very) familiar, there is good reason. Th is dark, tolling hymn evokes a long

Schubert’s death at age 31 was one of music history’s great tragedies. Despite his short life, Schubert somehow managed to leave behind more than 600 art songs, an extensive catalogue of ingenious piano and chamber music, and several masterpieces in large-scale genres. Shockingly underappreciated in his own day, Schubert now receives due recognition as one of the fi rst Romantics and has assumed his rightful place in the musical pantheon.

Franz SCHUBERT (b. Vienna 1797 — d. Vienna 1828)


Richard Tognetti’s arrangement of Schubert’s song “Death and the Maiden” was fi rst heard in 2004, performed by the ACO and soprano Dawn Upshaw.


line of funereal music, including the Dies irae theme (which originated in Medieval sacred music but has inspired composers and appeared in their works ever since) and at least three themes by Beethoven: the main tunes of the slow movements from the Op.26 and “Appassionata” piano sonatas, as well as the opening theme from the funeral march second movement of the “Eroica” Symphony, all three of which were composed in the previous 15 or so years and would have been frequently heard in Vienna. (Th e theme also points toward the funeral march from Chopin’s Piano Sonata No.2 – itself inspired by Beethoven – which wouldn’t be written for another 20 years.)

After a brief pause, the music becomes highly agitated – with fast groupings of notes that emphasise the off beat and seem to recoil from the steady, implacable chords of Death’s theme. Th e maiden enters, sensing Death’s approach and begging for reprieve (“I am still young…do not touch me”). Th en, in the fi nal section, the mood of the opening bars returns, and we hear Death’s voice. His words are largely monotone but are soothing in their gentle, regular pace, and beneath the soloist, Death’s theme slowly brightens, until with his fi nal words (“You shall sleep gently in my arms”) we fi nd ourselves in the major mode. For a brief, tranquil coda – perhaps as Death slowly leads the maiden away – the theme is transformed into a peaceful chorale.

Death and the Maiden

Das Mädchen: Th e Maiden:

Vorüber, ach vorüber! Pass by, oh pass by!Geh, wilder Knochenmann! Savage bone man!Ich bin noch jung, geh Lieber! I am still young, go, devoted one!Und rühre mich nicht an. And do not touch me.

Der Tod: Death:

Gib deine Hand, du schön Give me your hand, you fair und zart Gebild! and tender form.Bin Freund und komme I am a friend and come nicht zu strafen. not to punish.Sei gutes Muts! Ich bin Be of good cheer! I am nicht wild, not savage.Sollst sanft in meinem You shall sleep softly in Armen schlafen! my arms!


“I fi nd myself to be the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair continually makes things worse and worse instead of better; imagine a man, I say, whose most brilliant hopes have perished, to whom the felicity of love and friendship have nothing to off er but pain at best, whom enthusiasm (at least of the stimulating variety) for all things beautiful threatens to forsake, and I ask you, is he not a miserable, unhappy being? ‘My peace is gone, my heart is sore, I shall fi nd it nevermore,’ I might as well sing every day now, for upon retiring to bed each night I hope that I may not wake again, and each morning only recalls yesterday’s grief.”

– Franz Schubert, March 1824, in a letter to Leopold Kupelwieser

“O imagination! thou greatest treasure of man, thou inexhaustible wellspring from which artists as well as savants drink! O remain with us still, by however few thou are acknowledged and revered…”“What I produce is due to my understanding of music and to my sorrows.”

– Franz Schubert, two journal entries, March 1824

Schubert’s own words above illustrate just how drastically the young composer’s life circumstances had changed in the seven short years between the composition of “Death and the Maiden” 1817 and the D Minor String Quartet of 1824 (which takes the title of the song for its nickname due to Schubert’s use of Death’s theme as the basis for the second movement). In early 1823, Schubert fi rst began suff ering the symptoms of syphilis – exactly when and from whom he contracted the disease is unclear; opinions about the orientation of his sexual appetite diff er, but all agree it was prodigious – so by the time he began work on the D Minor Quartet, he knew very much how “the Maiden” felt. In the 19th century, syphilis was a death sentence. But as with so many composers, the more dire Schubert’s personal situation became, the greater artistic heights he climbed. Deprived of his health and often confi ned from social interaction, his

Schubert by Rieder, 1825


In 1987 the ACO played Schubert’s Death and the Maiden Quartet in an arrangement by Gustav Mahler. Richard Tognetti’s arrangement of the work was fi rst performed by the ACO as part of the Orchestra’s 2001 season.

SCHUBERTString Quartet in D Minor, D.810, “Death and the Maiden”(Composed 1824)AllegroAndante con motoScherzo PrestoArranged by Richard Tognetti

My Prayer

With a holy zeal I yearnLife in fairer worlds to learn; Would this gloomy earth might seem Filled with love’s almighty dream.

Sorrow’s child, almighty Lord,Grant Th y bounty for reward. For redemption from above Send a ray of endless love.See, abased in dust and mire,Scorched by agonising fi re, I in torture go my way, Nearing doom’s destructive day.

Take my life, my fl esh and blood,Plunge it all in Lethe’s fl ood, To a purer, stronger state Deign me, Great One, to translate.

– Franz Schubert, May 8, 1823 (trans. Eric Blom)


work became his only outlet. Th e “Great” C Major Symphony, the A Minor and D Minor quartets, the Octet in F, the extraordinary song cycles Die schöne Müllerin and Winterreise, and the B fl at Piano Sonata, among much else, all date from these last fi ve years of his life when he was constantly struggling against physical and emotional deterioration.

When it became Schubert himself confronting impending death, he took a much less peaceful, obliging view than when he had been speaking on behalf of his fi ctional maiden; the D Minor Quartet is uncompromisingly tragic. All four movements are in the minor mode (very unusual in Schubert’sday), moments of emotional respite are few and short-lived, and the entire work has the same implacable forward motion of the song, but without its soothing undertone. Th is is desperate, fearful music.

Th e opening theme of the fi rst movement has something of the accompaniment to the maiden’s panicked pleading to it, with Schubert’s beloved triplets standing in for the song’s straight quavers. After the introduction of a tender, lyrical second theme, the movement becomes an almost brutal dialogue between the two, with the second theme repeatedly being shoved aside by fi ercely articulated returns of the opening motif in several varied forms. Th e movement concludes with the triplets losing momentum and fading away, their job, for the moment, done.

Th e Andante second movement – a series of fi ve variations on Death’s music from “Death and the Maiden” – makes the link to the song explicit. Th e movement begins with a straightforward statement of the hymn-like theme, slightly faster than the song, which insistently gains volume then recedes once more. Th e fi rst variation props fractured fi gurations for the fi rst violin atop a restless triplet- and pizzicato-infused accompaniment, then a mournful tune for cello takes the lead for the second variation. Th e third variation, characterised by a repetitive driving rhythm of quaver and semi-quaver notes, breaks from the lyricism of the previous section and presses the movement forward. Schubert’s triplets return in the fourth variation, which, despite being the only one of the fi ve written in the major mode, is more wistful than reassuring. Th e fi nal variation, which fi nds the instruments restlessly trading motifs, forms a single extended crescendo-diminuendo and ushers in the hushed coda, for which – as in the song – Schubert transitions to the major mode. But here, the dynamic is quieter, the harmony more hollow, the motion more halting, and the duration (compared to what came before) much more brief; Schubert’s music of peaceful resignation is transformed into a tremulous admission that letting go of fear is not so easy.


Th e succinct Scherzo that follows begins and ends with the athletic and incisive rhythms of the fi rst movement, joined with an extensive use of chromaticism that gives the movement an unsteady, teetering quality. Th e fl ittering trio at the Scherzo’s center, with its soft gliding melody kept aloft by the fi rst violin’s quietly fl apping wings, in one of the work’s few escapes from gloom.

Th e quartet concludes with a frenzied fi nale in the style of a tarantella – an exhausting Italian folk dance said to have originated as a cure for sickness or to be performed after being bitten by a tarantula in order to sweat out the venom and avoid otherwise certain death. Th is macabre subtext, as well as a chorale-like quotation near the beginning of the movement of Schubert’s Erlkönig – another song featuring an encounter with a deathly fi gure – and the fact that the frenzied dance ends tumultuously, never having arrived, as traditionally expected, in the major mode, gives the movement an appropriately disturbing tint.

PROGRAM NOTES © JAY GOODWINNew York-based annotator Jay Goodwin is on the editorial staff at Carnegie Hall and writes for organisations across the United States, including the Metropolitan Opera, the Boston Symphony Orchestra, the St. Louis Symphony, a nd Th e Juilliard School.


DANIELLE DE NIESESOPRANO

Danielle de Niese, the Australian-born American singer, regularly appears on the world’s most prestigious opera and concert stages. Th rough a combination of her recordings, live performances, and television exposure de Niese has gained wide recognition as a highly respected, and popular classical artist, who combines eff ortless grace and class with the ability to communicate on every level.

Ms de Niese’s 2011–12 season included the role of Ariel in Th e Metropolitan Opera’s world premiere production of Th e Enchanted Island – which was shown in movie theatres worldwide as part of Th e Met’s HD Broadcast series. She also appeared as Atalanta in Handel’s Xerxes at Th eatre an der Wien, and made her San Diego Opera debut as Norina in Don Pasquale.

Ms de Niese’s orchestral engagements have included appearances with the New York Philharmonic, Cleveland Orchestra, National Symphony, San Francisco Symphony and the Academy of St. Martin in the Fields. She has performed with conductors including Sir Charles Mackerras, Kurt Masur, Seiji Ozawa, Nicola Luisotti, Sir Andrew Davis, William Christie, Christophe Rousset, Marc Minkowski and Emmanuelle Haïm.

Ms de Niese’s career got off to a prestigious start when, at age 18, she became the youngest singer ever to enter the Metropolitan Opera’s Lindemann Young Artist Development Program. A year later she made her Met debut as Barbarina in Le nozze di Figaro in Jonathan Miller’s production with James Levine. Soon after came operatic debuts with the Netherlands Opera, the Saito Kinen Festival, and the Paris Opéra, but it was her portrayal of Cleopatra in a David McVicar production of Handel’s Giulio Cesare for her 2005 Glyndebourne Festival debut that brought her true international acclaim. Ms de Niese has enjoyed continued successes on the stages of the Paris Opéra, Zurich Opera, Royal Opera House Covent Garden, Netherlands Opera, Teatro Real, San Francisco Opera and Lyric Opera of Chicago, among others.

For her debut solo album, Handel Arias, de Niese was named New Artist of the Year at the 2008 ECHO Awards, received the Orphée D’Or by the Academie Du Disque Lyrique, and was nominated for the 2009 Classical Brit Award for Female Artist of the Year. Th is album was followed by Th e Mozart Album in 2009 and Diva in 2010. Beauty of the Baroque, de Niese’s latest Decca release of favourite arias from the English, German and Italian traditions, accompanied by Th e English Concert under Harry Bicket, was released in summer 2011.

Born to parents of Sri Lankan and Dutch heritage, Danielle de Niese was born in Melbourne and grew up in Los Angeles. Th e soprano has been captivating audiences since childhood, when she was a fi xture of Los Angeles local television hosting a weekly arts showcase for teenagers, for which she won an Emmy Award at the age of 16.

Th is subscription tour with the Australian Chamber Orchestra marks Danielle de Niese’s Australian debut.

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Danielle de Niese appears by arrangement with IMG Artists, 152 West 57th Street, 5th Floor, New York, NY 10019. Tel: 212/994-3500.

Danielle de Niese records exclusively for Decca/London.

Danielle de Niese’s gowns are by Donna Karan and Vivienne Westwood.

Danielle de Niese’s jewellery is by Van Cleef & Arpels.

danielledeniese.com


RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Th ompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: Th e Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, co-created Th e Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary fi lm Musica Surfi ca, which has won best fi lm awards at surf fi lm festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.

A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.

Richard Tognetti was appointed an Offi cer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

Select DiscographyAs soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

(All three releases available as a 5CD Box set: ABC Classics 476 6168)

Musica Surfi ca (DVD)Best Feature, New York Surf Film Festival

As director:

VIVALDI Flute Concertos, Op.10Emmanuel Pahud, FluteEMI Classics 0946 3 47212 2 6Grammy Nominee

PIAZZOLLA Song of the AngelChandos CHAN 10163

All available from aco.com.au/shop.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

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AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI AO ARTISTIC DIRECTOR

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal 2nd Violin

Satu Vänskä Assistant Leader

Madeleine Boud Violin

Rebecca Chan Violin

Alice Evans Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles.

Th e ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. Th e ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a fl exible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fi ne instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Fifty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein. Th is year, the ACO tours to the USA and Europe.

Th e ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. Th e ACO appears in the television series Classical Destinations II and the award-winning fi lm Musica Surfi ca, both available on DVD and CD.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.+ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andræ cello kindly on loan from Peter Weiss AM.

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

ALICE EVANSViolinChair sponsored by Jan Bowen, Th e Davies and Th e Sandgropers

MARK INGWERSENViolinChair sponsored by Runge

AIKO GOTOViolinChair sponsored by Andrew & Hiroko Gwinnett

ILYA ISAKOVICHViolinChair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner & Grant Lang

NICOLE DIVALLViolaChair sponsored by Ian Lansdown

TIMOVEIKKO VALVE+Principal CelloChair sponsored by Mr Peter Weiss AM

MADELEINE BOUDViolinChair sponsored by Terry Campbell AO & Christine Campbell

HELENA RATHBONE*Principal 2nd ViolinChair sponsored by Hunter Hall Investment Management Limited

SATU VÄNSKÄ≈Assistant LeaderViolinChair sponsored by Robert & Kay Bryan

RICHARD TOGNETTI AO§

Artistic Director and Lead ViolinChair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Players dressed by AKIRA ISOGAWA

TEIJE HYLKEMA Cello

SHEFALI PRYOR* Oboe

NGAIRE DE KORTEOboe

VERONIQUE SERRETViolin

CHAIM STELLER#Guest Principal Viola

CERIDWEN DAVIES Viola

EVE SILVER^ Cello

JONATHAN WILLIAMS Horn

HEATH PARKINSON≠Horn

# Courtesy of Orchestra Mozart, Bologna ^ Courtesy of West Australian Symphony Orchestra * Courtesy of Sydney Symphony ≠ Courtesy of Tasmanian Symphony Orchestra


AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

BEHIND THE SCENES

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager and Development ManagerMichelle KerrExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorErin McNamaraTour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian

EDUCATIONVicki StanleyEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCESteve Davidson Chief Financial Offi cerCathy Davey Senior AccountantShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerSally-Anne BigginsPatrons ManagerStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGGeorgia RiversMarketing & Digital Projects ManagerRosie RotheryMarketing ExecutiveChris Griffi thBox Offi ce ManagerMary StielowPublicistDean WatsonCustomer Relations ManagerDavid SheridanOffi ce Administrator &Marketing Assistant

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestLiz CacciottoloChris Froggatt

Janet Holmes à Court ACAndrew Stevens

John TabernerPeter Yates AM

BOARD

Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTS

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

QUEENSLAND PERFORMING ARTS CENTREPO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444

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TrusteesSimon GallaherHelene GeorgeBill GrantSophie MitchellPaul PiticcoMick Power AMSusan StreetRhonda White

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ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Rachel Nolan MPMinister for Finance, Natural Resouyrces and Th e ArtsDirector-General, Department of the Premier and CabinetJohn BradleyDeputy Director-General, Arts Queensland Leigh Tabrett PSM

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VENUE SUPPORT

We are also indebted to the following organisations for their support:

GOVERNMENT SUPPORT


ACKNOWLEDGEMENTS

A City of Sydney VenueClover Moore Lord Mayor

Managed byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix Founder

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CITY RECITAL HALL ANGEL PLACE2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652 Website www.cityrecitalhall.com

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams am (Chair)Ms Catherine BrennerMs Helen CoonanMr Wesley EnochMs Renata Kaldor aoMr Robert Leece am rfdMr Peter Mason amDr Th omas (Tom) Parry amMr Leo Schofi eld amMr John Symond am

EXECUTIVE MANAGEMENT

Acting Chief Executive Offi cer Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

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MEDICI PROGRAM 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

MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti AOLead Violin

Michael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal 2nd Violin

Satu VänskäAssistant Leader

Robert & Kay Bryan

Christopher MoorePrincipal Viola

Tony Shepherd

Timo-Veikko ValvePrincipal Cello

Peter Weiss AM

Maxime BibeauPrincipal Double Bass

John Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAndrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans ViolinJan BowenTh e DaviesTh e Sandgropers

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud ViolinTerry Campbell AO & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr R. Bruce Corlett AM &Mr Robert Albert AO & Mrs Libby Albert Mrs Ann Corlett


2011 EUROPEAN TOUR PATRONSTh e ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

Graeme & Jing AaronsSamantha AllenJohn & Philippa Armfi eldSteven BardyIsla Baring Linda & Graeme BeveridgeBG GroupPaul BorrudBen & Debbie BradyKay BryanMassel GroupTerry Campbell AO & Christine CampbellJenny & Stephen CharlesTh e Clayton FamilyPenny Clive & Bruce NeillJohn ColesCommonwealth BankRobin D’Alessandro & Noel PhilpJennifer Dunstan Bridget Faye AM

Ann Gamble MyerRhyll GardnerAlan & Joanna GemesTony GillGlobal Switch LimitedAndrew & Hiroko GwinnettPeter Henshaw & Fargana KarimovaPeter & Sandra HofbauerJanet L Holmes à Court ACCatherine Holmes à Court- Mather Brendan & Bee HopkinsP J Jopling QCLady KleinwortWayne KratzmannPrudence MacLeodBill Merrick P J MillerJan MinchinJustin Raoul Moffi ttAlf Moufarrige

Louise & Martyn Myer FoundationSir Douglas MyersMarianna & Tony O’Sullivanpeckvonhartel architectsDiana PolkinghorneRio Tinto LimitedGregory Stoloff & Sue LloydDavid StoneAndrew StraussTim & Sandie SummersJohn Taberner & Grant LangPatricia Th omas OBEBeverley TrivettLoretta van MerwykMalcolm WatkinsMichael WelchWesfarmers LimitedGillian WoodhouseMs Di YeldhamAnonymous (3)

ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra.Th e ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin.

VISIONARY $1m+Peter Weiss AM

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,000Naomi Milgrom AO

OCTET $100,000 – $199,000Amina Belgiorno-Nettis

QUARTET $50,000 – $99,000John Leece OAM & Anne Leece

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999Leslie & Ginny Green

SOLO $5,000 – $9,999

PATRONS$500 – $4,999June & Jim ArmitageAngela Roberts

PETER WEISS AM, PATRON


OTHER COMMISSIONSJan MinchinRobert & Nancy Pallin

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy Denmeade

Toni FreckerJohn Gaden AMCathy GraySusan Johnston & Pauline GardeBrian KelleherAndrew Leece

Kate Mills & Sally BreenMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa Way

CREATIVE MUSIC FUND COMMISSION Qinoth by Paul Stanhope

ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.

THE REEF

LEAD PATRONSTony & Michelle Grist

PATRONSEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire Poll

Gavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court AC Marc Besen AO & Eva Besen AO

ACO DONATION PROGRAMTh e ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are 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.

Edmund & Joanna CaponMr R. Bruce Corlett AM & Mrs Ann CorlettLeslie & Ginny Green

Angela IslesIan Lansdown in memory of Nina LansdownMr Anthony & Mrs Sharon Lee

Bernard & Barbara LeserRoss Steele AMVictoria TaylorEvan Williams

ACO RECORDINGS PROGRAM MENDELSSOHNTh e ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op. 20. Th e ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come.


HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUSTTHE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS

ACO DONATION PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Th e Abercrombie Family FoundationMr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattAustralian Communities Foundation–Ballandry (Peter Griffi n Family) FundPJ Jopling QCMiss Nancy KimptonPaula KinnaneJeff MitchellDrs Alex & Pam ReisnerJohn Taberner & Grant LangIan Wallace & Kay FreedmanPeter Weiss AMAnonymous (1)

DIRETTORE $5,000$9,999Geoff AlderTh e Belalberi FoundationJenny & Stephen CharlesRoss & Rona ClarkeBridget Faye AMIan & Caroline FrazerEdward C Gray

Annie HawkerKeith KerridgeWayne N KratzmannPhilip A LevyLorraine LoganHon Dr Kemeri Murray AOMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardRoberts FamilyA J RogersPaul Schoff Ian Wilcox & Mary KostakidisAnonymous (1)

MAESTRO $2,500$4,999Michael AhrensJane AllenWill & Dorothy Bailey BequestVirginia BergerPatricia BlauJon Clark & Lynne SpringerCaroline & Robert ClementeLeith & Darrel ConybeareM CrittendenJohn & Gloria DarrochKate DixonProfessor Dexter Dunphy AMLeigh EmmettRhyll GardnerGoode FamilyMaurice & Tina GreenPhilip Griffi ths ArchitectsNereda Hanlon & Michael Hanlon AMLiz Harbison

Angela James & Phil McMasterDavid & Megan LaidlawAlastair Lucas AMJan McDonaldP J MillerDonald & Jane MorleyLouise & Martyn Myer FoundationJennie & Ivor OrchardS & B PenfoldRalph & Ruth RenardD N SandersGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordTom Th awleyDr & Mrs R TinningLaurie WalkerRalph Ward-Ambler AM & Barbara Ward- AmblerKaren & Geoff WilsonJanie & Neville WitteyAnonymous (3)

VIRTUOSO $1,000$2,499Annette AdairPeter & Cathy AirdRae & David AllenAndrew AndersonsSibilla BaerDoug & Alison BattersbyTh e Beeren FoundationRuth BellVictoria BeresinBen & Debbie BradyVicki BrookeIn memory of Elizabeth C. SchweigJasmine BrunnerSally BuféNeil Burley & Jane Munro

G Byrne & D O’SullivanElizabeth & Nicholas CallinanJ & M CameronSandra CassellAnn Cebon-GlassGeorg & Monika ChmielAngela & John ComptonAlan Fraser CooperJudy CrollBetty CrouchleyDiana & Ian CurtisMarie DalzielJune DanksMichael & Wendy DavisAnne & Tom DowlingJennifer DowlingAnne-Maree EnglundPeter EvansJulie EwingtonH E FairfaxElizabeth FinneganNancy & Graham FoxColonel Tim FrostAnne & Justin GardenerColin Golvan SCWarren GreenPaul HarrisLyndsey HawkinsPatagonian Enterprises Pty LtdMichael Horsburgh AM & Beverley Horsburgh Wendy HughesPam & Bill HughesPhillip Isaacs OAMD & I KallinikosLen La FlammeJohn Landers & Linda SweenyMrs Judy LeeGreg Lindsay AO & Jenny LindsayJoanne Frederiksen & Paul Lindwall


ACO DONATION PROGRAMBronwyn & Andrew LumsdenMr & Mrs Greg & Jan MarshJennifer MarshallRoderick & Leonie MathesonJane Mathews AODeidre & Kevin McCannBrian & Helen McFadyenJ A McKernanMrs Helen MeddingsNola NettheimAnne & Christopher Pagepeckvonhartel architectsProf David Penington ACTomasz RawdanowiczMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond In Memory of Andrew RichmondEm Prof A W Roberts AMJulia Champtaloup & Andrew RotheryDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasCisca SpencerPeter & Johanna Stirling BensonGeoff rey StirtonJohn & Jo StruttDr Charles Su & Dr Emily LoRob Th omasColin & Joanne TrumbleNgaire TurnerKay VernonEllen WaughM W WellsSir Robert WoodsNick & Jo WormaldAnna & Mark YatesMark YoungWilliam YuilleAnonymous (13)

CONCERTINO $500$999Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonElsa AtkinJeremy Ian BarthBaiba BerzinsBrian BothwellDenise BraggettDiana BrookesMorena Buff on & Santo CilauroDarcey BussellGraham & Cosette CanningCam & Helen CarterStephen ChiversJohn ClaytonJoan ClemengerSam Crawford ArchitectsDr Julie CrozierProfessor John DaleyLindee DalziellTed & Christine DauberMari DavisMartin DolanIn Memory of Raymond DudleyProfessor Peter Ebeling & Mr Gary PloverM T & R L ElfordMirek GenerowiczPeter & Valerie GerrandPaul Gibson & Gabrielle CurtinBrian GoddardKatrina GroshinskiMatthew HandburyLesley HarlandVirginia HenryDr Penny Herbert in memory of Dunstan HerbertM John Higgins & Jodie MaunderPeter & Ann HollingworthPenelope HughesDr & Mrs Michael HunterJohn & Pamela HutchinsonStephanie & Michael HutchinsonPhilip & Sheila Jacobson

Deborah JamesBrian JonesMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettTony Kynaston & Jenny FaggSydney & Airdrie LloydPeter Lovell & Michael JanJudy LynchAlexandra MartinDonald C MaxwellPamela McGawDr Hamish & Mrs Rosemary McGlashanPatricia McGregorMrs Robyn McLayJan MinchinJohn Mitchell & Carol FarlowGraeme L MorganHelen & Gerald MoylanJ NormanGraham NorthRobin Offl erAllegra & Giselle OvertonJosephine PaechLeslie ParsonageDeborah PearsonKevin PhillipsMichael PowerSophie RotheryTeam SchmoopyManfred & Linda SalamonRobert Savage AMGarry E ScarfIn Memory of H. St. P. ScarlettJeff SchwartzJennifer SindelDr Fiona StewartMr Tom StoryProf Robert SutherlandMrs Eva SweetShaun TanMaster William TaylorLeslie C Th iessJoy Anderson & Neil Th omasDavid WalshJohn & Pat WebbG C & R WeirGordon & Christine Windeyer

Mr Hugh WyndhamDon & Mary Ann YeatsAnonymous (27)

CONTINUO CIRCLEBEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Margaret & Ron Wright Mark Young Anonymous (10)

LIFE PATRONS IBMMr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at [email protected].


ACO CAPITAL CHALLENGETh e ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-NettisMrs Barbara Blackman

OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby AlbertMrs Amina Belgiorno-NettisTh e Th omas Foundation

QUARTET $50,000 – $99,000Th e Clayton FamilyMr Peter HallMr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant LangMr Peter Yates AM & Mrs Susan Yates

ACO INSTRUMENT FUND BOARD MEMBERSBill Best (Chairman)Jessica BlockJanet Holmes à Court AC

John Leece OAMJohn Taberner

ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis AMChairman ACO & Joint Managing Director Transfield Holdings

Leigh BirtlesExecutive DirectorUBS Wealth ManagementLiz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Rhyll Gardner

Tony O’Sullivan Managing Partner O’Sullivan PartnersJohn Taberner Consultant Freehills

SYDNEY DEVELOPMENT COMMITTEE

Peter Yates AM (Chairman)Chairman Royal Institution of AustraliaDirector AIAA Ltd

Debbie BradyBen BradyStephen Charles

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

Jan Minchin DirectorTolarno GalleriesSusan Negrau

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEESBowral Elsa AtkinMichael Ball AM (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes

Bowral Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Helene BurtLiz Cacciottolo (Chair)Judy CrawfordDr Dee DebruynDi CollinsJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee HopkinsSarah Jenkins

Vanessa JenkinsCharlotte MackenziePrue MacLeodJulianne MaxwellMariana O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill


ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings

Mr Philip Bacon AMDirectorPhilip Bacon Galleries

Mr David Baff sky AO

Mr Brad BanducciGeneral Manager (acting)Woolworths Liquor

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr John GrillChief Executive Offi cerWorleyParsons

Mr Colin Golvan SC & Dr Deborah Golvan

Mrs Janet Holmes à Court AC

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Mr John JamesManaging DirectorVanguard

Ms Catherine Livingstone AOChairmanTelstra

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy AMChief Executive Offi cerWestfi eld Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Mrs Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AOChairmanNufarm Limited

Mr John MeacockManaging Partner NSWDeloitte

Ms Naomi Milgrom AO

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Clark MorganVice ChairmanUBS Wealth Management Australia

Mr Alf Moufarrige OAMChief Executive Offi cerServcorp

Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand

Mr Oliver RoydhouseManaging DirectorInlink

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) TakodaManaging Director & CEOMitsubishi Australia Ltd

Mr Alden ToevsGroup Chief Risk Offi cerCommonwealth Bank of Australia

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Ms Vanessa WallaceDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

Mr Peter Yates AMChairman, Royal Institution of Australia & Director, AIAA Ltd


ACO CORPORATE PARTNERS Th e ACO would like to thank its corporate partners for their generous support.

FOUNDING PARTNER ACO2 PRINCIPAL PARTNER

OFFICIAL PARTNERS

PERTH SERIES &WA REGIONAL TOUR PARTNER

ACCOMMODATION AND EVENT PARTNERS

NATIONAL TOUR PARTNERS

CONCERT AND SERIES PARTNERS

Daryl Dixon

Peter Weiss AM


newsACO NEWS • JUNE 2012

Touring North America is nothing if not gruelling. Distances are vast, fl ights are rarely direct because airline hubs are scattered randomly over the continent and bus trips span state-lines and time-zones.

In between the major musical centres of Chicago, Toronto and New York, our North American tour included performances in beautiful venues in a number of smaller cities and university towns; the Norton Center in Danville, Kentucky; the DeBartolo Performing Arts Center at Notre Dame University in Southbend, Indiana; and Bailey Hall at Cornell University in upstate New York were outstanding.

Teddy Tahu Rhodes caused a gasp every time he strode on-stage making his dramatic entry while the Orchestra crescendoed through the last chord of Robert Saxton’s short prelude before launching attacca into Richard Rodney Bennett’s Songs before sleep.

In the other program of this tour, soprano Dawn Upshaw sang the beguiling song cycle Winter Morning Walks by jazz composer Maria Schneider. It was an especially memorable collaboration between this superb singer, a distinctive composer, the ACO strings and three musicians from Maria’s jazz orchestra. Immediately following the fi nal concert at Carnegie Hall, Dawn, Richard and the musicians went into a recording studio in Manhattan to capture this ravishing song cycle for future CD release.

Several concerts on this tour opened with the interleaving of Webern’s Five Pieces for String Orchestra and four movements from Black Angels by George Crumb, a bold concept which struck The New York Times: “The unusual suite received a dynamic, detailed performance by this excellent ensemble, admired for its adventurous programming.”

But it was the ACO’s performances of Schoenberg’s Transfi gured Night and Richard’s arrangements of Grieg and Ravel’s string quartets which had audiences on their feet at every concert. Far from the applause/exodus that greets many symphonic concerts in the US (known in New York as the “standing evacuation”), the ACO’s audiences stood and cheered until encores were offered.

We received invitations to so many cities that our future US plans have expanded to include annual visits in the next few seasons, starting with concerts in California next March and an extensive tour taking in Los Angeles, Boston and New York in March 2014.

NORTH AMERICAN TOUR12 April – 3 May 2012

ACO and Dawn Upshaw in the recording studio, New York.

ACO in rehearsal — Bailey Hall, Corn ell University, Ithaca, New York.

ACO in rehearsal — Orchestra Hall, Chicago.

ACO in rehearsal — Koerner Hall, Toronto, Canada.


WE DANCE TOA DIFFERENTTUNE.Event Emporiumorchestrates events like no other. From gala dinners and corporate parties to conferences and product launches, our repertoire is original, daring and different, inspiring audiences to engage, celebrate, applaud and delight.

Event Emporium. Making beautiful music with the ACO as official event partner.p: 02 9955 7107 | w: www.eventemporium.com.au

Pictured: ACO Gala Dinner Fundraiser, Out Of Africa

CHAIRMAN’S COUNCIL & MEDICI PATRONS COCKTAILSIn March we held our annual Chairman’s Council and Medici Patrons Cocktail events in Sydney and Melbourne, to honour our most valued patrons and supporters.

A quartet led by Satu Vänskä thrilled guests in Melbourne with the music of Vivaldi and Paganini and in Sydney they were joined by surprise guest Jim Moginie, former Midnight Oil guitarist.

Naomi Milgrom AO hosted the Melbourne event at the Sussan Headquarters in Cremorne. Naomi is a Founding Patron of the ACO Instrument Fund, so it was fi tting that the performance featured Satu playing the ACO’s Stradivarius violin.

ACO Board Member Liz Cacciottolo and Walter Lewin hosted the Sydney event at their spectacular home in Vaucluse.

In the intimate surroundings of these two stunning venues guests experienced an evening that combined fi ne music, fi ne wine and fi ne food.

Our warmest thanks go to Naomi, Liz and Walter for their warm and generous hospitality.

Wendy Edwards, Helen & Michael Carapiet, Michelle Belgiorno-Nettis

Todd Buncomb, Paris Neilson, Beau Neilson, Jeffrey Simpson

Mark Ingwersen, Jim Moginie, Christopher Moore, Madeleine Boud, Satu Vänksä, Timo-Veikko Valve

Averill & Jim Minto, Geoff & Alison Wilson

Judy Crawford, Skye Leckie

Mandie Purcell, Susan Harte, Charlotte Mackenzie


“This was one of your best! A sublime concert in all facets, not least, in the programming. Thank you to the Hilliard Ensemble not only for its excellence but also for including the mind-boggling Raskatov/Pärt. The singing and playing throughout the entire evening was breathtaking. Thank you.” Margaret & Ron Wright

“The concert last night with the Hilliard Ensemble and the ACO led by Helena Rathbone contained enough to challenge, charm and cosset us.” Jan Larson & Colin Marstin

“Today’s concert was a mixed bag of audacious programming. The highlight was the Veni, Creator Spiritus work – loved, loved, loved the Edwards against its much earlier predecessors. The lowlight, Raskatov, was played well but just not my thing…Otherwise all good and Helena did an ace job as leader.” Gail Chrisfi eld

“Thank you so much for the most beautiful concert on Tuesday night. I heard it in Adelaide, the whole concert was a unity.” Lisa Maeorg

“I LOVED the Raskatov!” Janine Harris

Feedback from our March tour with the Hilliard Ensemble:

Let us know what you thought about this concert at [email protected]

YOUR SAY

IT’S ALL ABOUT LOVE ...

WWW.EDUCATION.VIC.GOV.AU/SPECTACULAR

HISENSE ARENA, MELBOURNE PARKSATURDAY 8 SEPTEMBER: 11AM & 5PM

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