ULURU FESTIVAL2 & 3 JUNE 2 017

V oyA gE S Ay E R S Rock R E S oR T

WELcoMEAnangu are the traditional owners of Uluru, Kata Tjuta and

the surrounding land that awaits you. For tens of thousands

of years Anangu have cared for this land and for that we are

deeply thankful.

To them this has always been a special place. For Anangu

this isn’t just a rock, it’s a living place. Creation beings have

left their marks everywhere; their stories are alive in the

landscape around you. Anangu invites you to learn about

their land and their culture and form your own connection

with this land.

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MESSAgE FRoM ThE MANAgINg DIREcToRIt is a pleasure for the Australian Chamber Orchestra to be back for a weekend of music on Anangu Country, at the Voyages Ayers Rock Resort in Australia’s breathtakingly beautiful desert centre.

Voyages Ayers Rock Resort is our generous host for this Festival and I thank Voyages Indigenous Tourism for their support in making this event such a success.

This year, the ACO is joined in performance by one of the country’s finest vocal ensembles, the Gondwana Indigenous Children’s Choir. Formed by the indomitable Lyn Williams, the choir gives voice to the diverse cultures of Australia’s Indigenous youth, providing a vehicle to build identity through collaboration with local elders and community.

Last month, Lyn and the ACO’s Chief Operating Officer, Alex Cameron-Fraser, travelled to Uluru to meet with representatives of the Mutijulu Community regarding the Choir’s and Orchestra’s performances here. We are very grateful to the Community for their welcome and support.

Also joining the Orchestra in this unique concert setting is Australian singing sensation Greta Bradman. Greta has performed with orchestras and opera companies around the world, and we are delighted that she can join us for this very special event.

The ACO in a festival context is an intense and fortifying way of consuming and embracing our work. I am very grateful for the preparation both on and off stage, and pay tribute to all those who have worked so hard to make this Festival a reality.

I look forward to seeing you during the course of the weekend, and at future ACO Festivals, concerts and events.

Richard Evans Managing Director03

FRiday 2 JunE, 4.30pm

Richard Tognetti Director & ViolinAustralian Chamber Orchestra

WILHELM FRIEDEMANN BACHBorn Weimar, 1710. Died Berlin, 1784.

Sinfonia in F major, F.67 I. VivaceII. AndanteIII. AllegroIV. Menuetto I & II

RALPH VAUGHAN WILLIAMSBorn Down Ampney, 1872. Died London, 1958.(arr. Adam Johnson)

The Lark Ascending

MAURICE RAVELBorn Ciboure, 1875. Died Paris 1937. (arr. Richard Tognetti)

String Quartet in F majorI. Allegro moderato – Très douxII. Assez vif – Très rhythméIII. Très lentIV. Vif et agité

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Central Australia is the enduring landscape of Aboriginal people but European culture has brushed its

surface. Nearby Kata Tjuta was once known by the European name given it by the explorer Giles for

Queen Olga of Württemberg and some of the early white settlers – Lutheran missionaries – brought

Bach in their saddlebags. But usually that meant JS Bach, the composer of fugues and inventions

and a cantata for every Sunday service in the Lutheran calendar. Wilhelm Friedemann Bach was

Johann Sebastian’s eldest son (and the second of his 20 children). Like his brothers, Johann Christian

and Carl Philipp Emanuel, Wilhelm Friedemann was a pioneer of the more obviously-articulated

architecture of the classical style, but fewer of his pieces have survived. Today’s work however, gives a

good sense of his refreshingly innovative imagination. This brief four-movement work (a precursor of

the classical symphony) is typical WF. An account written at the time said his music had ‘just the right

ingredients to set the pulse racing, fresh ideas, striking changes of key, dissonant movements...’

Maybe Australians wouldn’t have the same reaction as British nationals to the song of a lark. In the

Central Australian mulga, there are chiming wedgebills and white winged trillers. ‘Yulara’ is possibly a

Pitjantjatjara verb-form for the ‘howling or crying’ that is associated with dingoes. But surely we can

sympathise with Vaughan Williams’ desire to pay tribute to his own native landscape in this work.

Gloucestershire-born Vaughan Williams drew his inspiration for this violin rhapsody from a poem by

George Meredith, one of a group of poets whose aim, under pressure from the Industrial Revolution,

was to preserve England’s rural landscape in literature.

He rises and begins to round,

He drops the silver chain of sound,

Of many links without a break,

In chirrup, whistle, slur and shake...

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We can hear the influence of Meredith’s lines in the emergence of the solo violin – trilling, swooping,

rising, in emulation of a lark soaring above the English countryside. Vaughan Williams began this work

in 1914. Sadly, the sounds of war would soon replace his pastoral vision.

Ravel taught Vaughan Williams but Ravel’s masterly String Quartet actually dates from his student

years in Paris. It was composed in late 1902/early 1903 around the time of the second of Ravel’s four

attempts to win the Prix de Rome. Hearing it, can we regret that Ravel didn’t impress the Rome jury

with his facility at pseudo-Bach fugues? Its impressionistic mood and varied tone colours suggest the

influence of the older composer Debussy who had written his own work a decade earlier. Ravel’s work

has been praised for its ‘translucent’ textures, economic utterance, Mozartian elegance. Some have

heard the influence here of Asian music, such as Balinese gamelan, which Ravel would have heard at

the Paris Exposition of 1899. But for all its freshness, Ravel was aiming not so much for innovation as

perfection, which he undoubtedly achieved. His teacher, Fauré, had issues with the final movement,

but Debussy warned him not to touch a single note...

Gordon Kalton Williams © 2017

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SatuRday 3 JunE, 11am

Richard Tognetti Director & Violin

Australian Chamber OrchestraGondwana Indigenous Children’s ChoirMaxime Bibeau Double Bass

LUKE BYRNEBorn Sydney, 1980.

Acknowledgement of Country

LUKE BYRNEStormbird

BRETT DEANBorn Brisbane, 1961.

Between the Spaces in the Sky (In Memoriam Richard Hickox)

LUKE BYRNE Buruwan Elegy

SCULTHORPEBorn Launceston, 1929. Died Sydney, 2014.

Lament for Strings

JOE CHINDAMOBorn Melbourne, 1961.

Five Revelations*

PETER SCULTHORPE Sonata for Strings No.1Sun song –

Chorale –

Interlude –

Chorale –

Sun song

TRADITIONAL

Songs from the Torres Strait Islands

* Commissioned by Jennifer Darin for her

husband Dennis Cooper’s 75th birthday.

As might be said in the local Yankunytjatjara language: ‘Nganana Australianya ngurrara munula inma

Australia-tjara tjuta inkantjaku!’ (We are Australians and should sing songs about Australia!)1 .

Sydney-based composer, Luke Byrne, has had a longstanding association with the Gondwana

Indigenous Children’s Choir and was present at the 2015 residential camp in Cairns where elder, Gudju

Gudju, taught Yidinji songs and stories. As Luke says, ‘The way Gudju Gudju describes the Stormbird

story is that the storm bird (black) sings first and the wind bird (grey) replies, and upon hearing this

the Yidinji people infer there is a cyclone coming.’ Some of the lyrics for Luke’s version arose from

words that came up in workshop with the choristers. Luke’s image of the storm looking like a sea-shell

from above is intended to convey the idea of a calm aerial perspective while violence brews below.

Brett Dean divides his time between Australia and Europe. His opera Hamlet premieres at

Glyndebourne this June. Between the spaces in the sky was originally the fifth movement of a

string quintet (enriched by extra viola) called Epitaphs, which Brett wrote as a tribute to friends

and colleagues who had recently died. He made this string orchestra version in 2011. This ‘epitaph’

is dedicated to Richard Hickox who was to have conducted Brett’s first opera, Bliss. A quote from

Amanda Holden’s libretto, prefaces the score: ‘Ecstasy touched me…I slid between the spaces in the

sky / And smelt things living and dying in the valleys of the forest’.

Buruwan Elegy was written for the Campbelltown Gondwana Indigenous Children’s Choir to

commemorate the 200th anniversary of the massacre of Dharawal people southwest of Sydney in

1816. Luke does not translate Jodi Edwards’ Dharawal text, which describes the massacre, but rather

conveys the massacre’s tragic effect on the country. The ‘buruwan’ is a Sydney-region rock lily.

In Lament for Strings, written in 1976 for the newly-formed Australian Chamber Orchestra,

Sculthorpe saw himself ‘reflecting upon a type of melancholic despair that the Australian landscape

has frequently inspired in the minds of Australians of European descent.’ In the outer sections, a

transposed version of a motif inspired by Mahler’s Song of the Earth and later found to match the

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sound for ‘earth’ in Kepler’s theory of the music of the spheres (G – A-flat – G) is developed into a

doleful rocking melody by solo cello and solo violin.

Melbourne-based composer Joe Chindamo describes himself as a ‘musical polyglot in the tradition

of Bernstein and André Previn’. Revelations, he says, is not so much a concerto for double-bass with

‘ping-ponging between orchestra and soloist’ nor is the soloist placed ‘centre-stage’. Rather the bass

is liberated from its position as foundation for a musical structure dominated usually by the violin. A

composer loves all his children equally, says Chindamo, and the bass here participates in a kind of

instrumental gender fluidity, often ‘escaping the shackles of its ground floor status and flying about,

taking the throne or any other echelon at whim’.

Peter Sculthorpe was asked to compose for the ACO again in 1983. Not having time to compose

a new work, he arranged his String Quartet No.10. The outer sections and a central episode of the

work are based on songs of the Pueblo Native Americans from the other side of the Pacific, the

southwestern USA. The contrasting chorales represent what Sculthorpe paradoxically calls the ‘Old

World’, Europe.

Peter Sculthorpe counted among his ancestors Fanny Cochrane-Smith who, in 1903, gave us the only

recordings of traditional Tasmanian song. The concert ends with music from the other end of the

country. The Gondwana Indigenous Children’s Choir was established in 2008 through collaboration

between the Sydney Children’s Choir and local school communities on the Torres Strait Islands. As

the Choir’s Artistic Administrator Sam Allchurch says, ‘This collaboration grew out of Lyn Williams’

partnership with Torres Strait dancer Sani Townson, who continues to support the choristers as a

mentor. The songs of the Torres Strait are diverse in style and subject matter and have been arranged

in three-part harmony, often by Lyn Williams. Accompanied by dances, they capture the beauty of the

natural landscape with the beach as a focal point.’

Gordon Kalton Williams © 2017

1 Thanks to Neil Bell for the phrase09

SatuRday 3 JunE, 4.30pm

Richard Tognetti Director & Violin

Australian Chamber OrchestraGreta Bradman Soprano

DMITRI SHOSTAKOVICHBorn St Petersburg, 1906. Died Moscow, 1975.

Prelude and Scherzo, Op.11

OSVALDO GOLIJOVBorn La Plata, 1960.

Three Songs for Soprano and Strings1. Night of the Flying Horses

2. Lúa descolorida

3. How slow the wind

DMITRI SHOSTAKOVICH(arr. Barshai)

Chamber Symphony, Op.110aI. Largo

II. Allegro molto

III. Allegretto –

IV. Largo

V. Largo

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Is music purely structured sound, or does it project meanings beyond itself? That is an ongoing

debate in Western culture but particularly with Shostakovich, whose music is sometimes thought to

conceal veiled criticism of the Soviet regime under which he lived.

His Prelude and Scherzo was written when Shostakovich was still a student in Leningrad. The

Revolution was new then and many intellectuals were sympathetic to its aims. Why then music

that foreshadows the darker tones of later works? Shostakovich said this work indicated that he

was ‘becoming more of a modernist’ (albeit one who was unafraid of baroque allusions, as in this

prelude’s stately opening). But what is really impressive here is Shostakovich’s convincing control over

extremes of expression, particularly in the ‘grotesque’ scherzo.

When a composer uses texts, we may think we’re surer of their meaning. But Golijov’s Three Songs

hover around elusive poetic symbols pertaining to life, nature-identification, consciousness and dying.

They were originally written as separate pieces. Golijov collected and arranged them for soprano

and orchestra. ‘Night of the Flying Horses’, arranged for the Australian Chamber Orchestra in 2009,

comes from music Golijov wrote for Sally Potter’s film The Man Who Cried. ‘Close your eyes/ And you

shall go/ To that sweet land/ All dreamers know’ begins this lullaby in Yiddish to Faygele, the heroine,

whose name also means ‘bird’. ‘Lúa descolorida’ comes from a poem by Rosalía de Castro, a Galician

poet whom, Golijov says, ‘defines despair in a way that is simultaneously tender and tragic’. The music

brings together contradictory elements – a homage to François Couperin and ‘velvet bells coming

from three different churches’. Golijov wanted to write ‘music so quiet it would bring an echo of the

single tear that Schubert brings without warning in his voicing of a C major chord’. ‘How slow the

wind’, a setting of two Emily Dickinson poems, is Golijov’s response to a friend’s sudden death: ‘I had in

mind one of those seconds in life that is frozen in the memory, forever...’

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In 1960, Shostakovich visited Dresden to write music for a film. But this wasn’t W.F. Bach’s beautiful

Dresden. This was a city ruined by Allied bombing. Apparently, Shostakovich was so mortified by what

he saw that he secluded himself in a room. The result after three days was the Eighth String Quartet,

later turned into a Chamber Symphony.

The Eighth Quartet was formally dedicated to the ‘victims of fascism and war’. With Shostakovich we

can never be certain there is a direct correlation between sound and non-musical concept. But maybe

there are concrete reasons for the quotes from previous pieces or the appearance of Shostakovich’s

musical motto (D – E-flat – C – B, which stands for the composer’s initials in German note-names:

Dmitri Schostakowich). Failing health? Self-loathing for having succumbed to recent pressure to join

the Communist Party? Shostakovich told a friend this piece could be dedicated to his memory.

We are a long way from Russia here at Yulara, even if it’s the same time of day in Russia’s Far East.

And the focus on death contrasts with the enduring charm of music. Perhaps we should marvel at the

power of music to survive its creators’ lives and circumstances – while we sit in this eternal landscape.

Gordon Kalton Williams © 2017

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RIchARD TogNET TI VIoLINRichard Tognetti is the Artistic Director of the Australian Chamber Orchestra. After studying both in

Australia and overseas at the Bern Conservatory with Igor Ozim, Richard Tognetti returned home in

1989 to lead several performances with the Australian Chamber Orchestra. In November that year, he

was appointed the Orchestra’s lead violin and, subsequently, Artistic Director. He was Artistic Director

of the Festival Maribor in Slovenia from 2008 to 2015.

As director or soloist, Richard has appeared with various orchestras around the world. In November

last year, he was London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall.

Richard is an acclaimed composer and has also worked on numerous film soundtracks. He was

appointed an Officer 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.

Chair sponsored by the late Michael Ball AM and Daria Ball, Wendy Edwards, Andrew

and Andrea Roberts.

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gRETA BRADMAN SopRANoRenowned Australian soprano Greta Bradman commenced her professional career in 2010.

Greta completed a Fellowship at the Australian National Academy of Voice, was the winner of the

Australian International Opera Award and moved to Cardiff to complete a Master of Advanced Vocal

Studies at the Wales International Academy of Voice.

Recent highlights include the title role in Handel’s opera Rodelinda, regina de’Longobardi, Eurydice

(L’anima del filosofo), Australian/NZ tour of Broadway to La Scala and an international tour with

Zubin Mehta and the Australian World Orchestra.

In 2015 Greta recorded My Hero, her debut album with Decca Classics. My Hero has become the

highest ever charting Australian classical album on the pop chart and debuted at number 1 on the

classical chart.

This year Greta debuted the role of Mimi in La Bohème for Opera Australia and Lisa in

La Sonnambula for Victorian Opera. Other engagements include a national tour, and Elijah for

Festival of Voices in Hobart.

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MAxIME BIBEAU DoUBLE BASSCanadian-born Maxime Bibeau’s musical career started, as many young musicians do, in a high school

garage band! Initially he wanted to pursue a career as a scientist, but the lure of music, particularly

jazz, inspired Maxime to take up double bass at 17. He completed his undergraduate degree at the

Conservatoire de Musique du Québec à Montréal with René Gosselin. He received his Master’s of

Music from Rice University in Houston with Timothy Pitts and Paul Ellison.

Maxime has been Principal Double Bass with the ACO since 1998. He has appeared as a featured

soloist with the Orchestra on many occasions, most recently in the world premiere of Elena

Kats-Chernin’s Singing Trees. He is a keen advocate of new music, with many premieres, both world

and Australian, to his name.

As an educator, he has been involved with the Australian Youth Orchestra’s National Music Camp,

Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer

at the Sydney Conservatorium of Music.

Maxime plays a late-16th-century Gasparo da Salò bass kindly on loan from a private

Australian benefactor.

Chair sponsored by Darin Cooper Foundation.

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goNDWANA INDIgENoUS chILDREN’S choIRCreated in 2008 by Gondwana Choirs Artistic Director and founder Lyn Williams OAM, Gondwana Indigenous Children’s Choir (GICC) gives voice to the diverse culture of Australia’s Indigenous youth, providing a vehicle to build identity through deep collaboration with local elders and community. At the core of GICC’s mission is the preservation and development of language and story through song, involving intergenerational cultural activity and developing a new contemporary Indigenous repertoire. There have been many commissions and new works created, including the children’s opera Ngailu, Boy of the Stars by Sani Townson and Dan Walker, and Spinifex Gum – a song cycle by Felix Riebl, presented by GICC at Gondwana National Choral School 2016. In 2017, the Choir will undertake a unique collaboration with the world-renowned Vienna Boys Choir, featuring the creation of new work, significant cultural interaction and live performances in Vienna, Sydney and Cairns.

Their sound is unique, with a richness, warmth and strength that is now recognised and loved by audiences. In 2015 the Choir performed at the Red Earth Arts Festival in the Western Pilbara and at the Business Council of Australia Annual Dinner in Sydney for the fourth consecutive year. Other tours include the Kimberley, Melbourne, Sydney and Canberra and internationally to the China World Expo. The Choir has recorded with the Uncle Seaman Dan, performed at the Cairns G20Summit, the Cairns NAIDOC Gala Ball and at the Sydney Opera House for the premiere of Paul Stanhope’s Jandamarra – Sing for the Country. Recent performances have included collaborations with Gurrumul, Christine Anu, Troy Cassar-Daley and the Soweto Gospel Choir.

The GICC program is built on a foundation of choral hubs in Cairns, Western Sydney and Inner Sydney. Through a weekly commitment, choristers receive the same high-level ongoing training as the world-renowned Sydney Children’s Choir, including ensemble rehearsals, sight-singing and music

theory presented by leading national choral artists.

CHORiStERS On StaGE

Jasmin Adams

Brianna Durante

Lara Miller

Dakota Peeters

Marnee Seden

Georgiana Thomas-Peddell

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Richard Tognetti Artistic Director & LeaderChair sponsored by the late Michael Ball AM & Daria Ball, Wendy Edwards, Andrew & Andrea Roberts

Helena Rathbone Principal ViolinChair sponsored by Kate & Daryl Dixon

Satu Vänskä Principal ViolinChair sponsored by Kay Bryan

Glenn Christensen ViolinChair sponsored by Terry Campbell AO & Christine Campbell

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Mark Ingwersen ViolinChair sponsored by Julie Steiner & Judyth Sachs

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Maja Savnik ViolinChair sponsored by Alenka Tindale

Ike See ViolinChair sponsored by Di Jameson

Principal ViolaChair sponsored by peckvonhartel architects

Nicole Divall ViolaChair sponsored by Ian Lansdown

Ripieno ViolaChair sponsored by Philip Bacon AM

Timo-Veikko Valve Principal CelloChair sponsored by Peter Weiss AO

Melissa Barnard CelloChair sponsored by Martin Dickson AM & Susie Dickson

Julian Thompson CelloChair sponsored by The Grist & Stewart Families

Maxime Bibeau Principal Double BassChair sponsored by Darin Cooper Foundation

PART-TIME MUSICIANS

Zoë Black ViolinThibaud Pavlovic-Hobba ViolinCaroline Henbest ViolaDaniel Yeadon Cello

AUSTRALIAN chAMBER oRchESTRA

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Inspiring programming, unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross artform projects and pieces specially commissioned for the ensemble. Founded by John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally.

The Orchestra performs all over the world: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls.

The ACO’s dedication and musicianship has created warm relationships with celebrated musicians and artists around the world. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.

MUSIcIANS oN STAgE

Richard Tognetti AO 1 Artistic Director & Violin

Nicole Divall Viola

Helena Rathbone 2 Principal Violin

Thomas Chawner Viola

Glenn Christensen Violin

Timo-Veikko Valve 3 Principal Cello

Mark Ingwersen Violin

Julian Thompson 4 Cello

Maja Savnik Violin

Maxime Bibeau 5 Principal Bass

Ilya Isakovich Violin

1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.

2 Helena Rathbone plays a 1759 J.B. Guadagnini kindly on loan from the Commonwealth Bank Group.

3 Timo-Veikko Valve plays a 1616 Hieronymus and Antonio Amati cello kindly on loan from the ACO Instrument Fund.

4 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss AO.

5 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

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Aco NATIoNAL EDUcATIoN pRogRAMThe 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

patROnS

Marc Besen AC & Mrs Eva Besen AO

Janet Holmes à Court AC

EmERGinG aRtiStS & EduCatiOn patROnS $10,000+

Mr Robert Albert AO & Mrs Libby Albert

Geoff Alder

Australian Communities Foundation –

Ballandry Fund

Steven Bardy & Andrew Patterson

The Belalberi Foundation

Anita & Luca Belgiorno-Nettis Foundation

Guido Belgiorno-Nettis AM

& Michelle Belgiorno-Nettis

Helen Breekveldt

Rod Cameron & Margaret Gibbs

Michael & Helen Carapiet

Stephen & Jenny Charles

Rowena Danziger AM & Ken Coles AM

Irina Kuzminsky & Mark Delaney

Mr Bruce Fink

Dr Ian Frazer AC & Mrs Caroline Frazer

Ann Gamble Myer

Daniel & Helen Gauchat

Kimberley Holden

Di Jameson

John & Lisa Kench

Miss Nancy Kimpton

Liz & Walter Lewin

Andrew Low

Anthony & Suzanne Maple-Brown

Jim & Averill Minto

Louise & Martyn Myer Foundation

Jennie & Ivor Orchard

Bruce & Joy Reid Trust

Andrew & Andrea Roberts

Mark & Anne Robertson

Margie Seale & David Hardy

Rosy Seaton & Seumas Dawes

Tony Shepherd AO

Anthony Strachan

Leslie C. Thiess

David & Julia Turner

Libby & Nick Wright

E Xipell

Peter Yates AM & Susan Yates

Peter Young AM & Susan Young

Anonymous (3)

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Aco REcoNcILIATIoN cIRcLEContributions 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 Jill Colvin on

02 8274 3835 or jill.colvin@aco.com.au

patROnS

Colin & Debbie Golvan

Peter & Ruth McMullin

Sam Ricketson & Rosie Ayton

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T h A Nk yoU

TRUSTS AND FOUNDATIONS

PATRONS – NATIONAL EDUCATION PROGRAM

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

GOVERNMENT PARTNERS

The ACO is assisted by the Australian Government through the Australia

Council for the Arts, its arts funding and advisory body

The ACO is supported by the NSW Government through Create NSW

Holmes à Court Family Foundation The Ross Trust

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PRESENTING PARTNER MAJOR EVENT PARTNERS EVENT PARTNERS

VoyAgE S pA R T NER Ack NoW L EDgEMEN T

PO Box R21

Royal Exchange NSW 1225

Opera Quays, 2 East Circular Quay,

Sydney NSW 2000

t 1800 444 444 (Box Office mon–Fri, 9am–5pm)E aco@aco.com.auW aco.com.au

artistic director Richard Tognetti AO

managing director Richard Evans

director of artistic Operations Luke Shaw

tour manager Lisa Mullineux

Voyages Ayers Rock Resort

Yulara Drive

Yulara NT 0872

t 1300 134 044 (mon–Fri, 8am–6.30pm. Sat–Sun, 9am–5pm.)E travel@voyages.com.auW Voyages.com.au