Have Your Say

16 Feb 2010

Thank-you for bringing so much pleasure into my life with your music. Last night I gave my 10yr old nephew, a violin player, an early birthday present - a night out to remember - which included your concert. I live in hope that his enthusiasm might grow by having such experiences. As for me, I just love the sweet sound of "that" violin. O. Ocean

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Last night we ‘returned’ after many years and were so thrilled with the clarity and virtuosity of the performance, we just wanted to say ‘thank you’ for an outstanding evening of world class music. It’s so good to be back! P. Pearce

Tognetti's Mozart | Yoursay Feedback | 16 Feb 2010

11 Dec 2009

Again, my renewal for the next season was in with its usual enthusiastic anticipation of another year of breath-taking musical escape.
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A friend who used our tickets for the October concert had only one complaint - "it was just too good - too perfect" - the best sort of "complaint".

More end of year feedback from subscribers | 11 Dec 2009

30 Nov 2009

From winners of a 2009 subscription:

This is the most valuable prize I have ever won and has been one of the most enjoyable experiences of my life. While the guest artists were fantastically gifted people and enjoyable to experience in their own right, the inclusion of pieces composed by Carl Vine, Peteris Vask, Brett Dean and John Kinsella gave us a chance to share the most modern compositions in addition to the pieces we have grown up with. To see some of these people attending the performances and being recognised for their works was also a very special feeling. Richard Tognetti is an incredible Artistic Director and Lead Violin. At every performance we have found ourselves drawn to individuals. The performances by Aiko Goto, Ilya Isakovich, Helena Rathbone, Nicole Divall, Julian Thompson, Christopher Moore and Maxime Bibeau will always remain with us. They all have an incredible presence on stage and their instruments could be picked out individually at various stages throughout every performance from our seating. While being a part of the overall performance, they allowed you to become a part of their personal world. Their presence drew you into the presentation of every piece. If it is possible, please extend our thanks to all the members of the Australian Chamber Orchestra who have given us a very special memory.

Subscription winners | 30 Nov 2009

27 Nov 2009

Last night we had an experience in the concert hall that we had not had since 25 years ago at the Kennedy Centre in Washington DC we heard the Boston Symphony Orchestra under Ozawa perform the Beethoven 7th Symphony, at the end of which the audience in erupted in a frenzy.

They did not quite do that last night, but should have.

Both the performance of the 4th piano concerto and the 4th symphony were spine tingling.

For us the symphony produced one of those rare nights in the concert hall where a performance of such artistry, discipline, musicianship and that extra, indefinable quality that separates a fine from a great performance, that it raises the hair on the back of the head, brings tears to the eyes and lifts one's spirits onto another plane.

In over 10 years of subscribing to many terrific concerts for us the ACO last night reached new heights.

Tim & Gillian McDonald | subscribers | 27 Nov 2009

26 Nov 2009

End-of-year feedback from subscribers:

Beethoven program was remarkable! The Concerto No.4 in particular was impressive, enthralling and exquisite by turns. We wish to buy the CD you are making of this wonderful concert. It has been a top year for the ACO and your luscious music. Thank you!
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I always appreciate programming which includes new and unfamiliar works as well as well known and loved repertoire. We sit in the second front row in Canberra and have very much enjoyed our up close and personal view of the musicians over the years. Thank you ACO.
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As always I enjoyed all the concerts I attended, and although I'm a bit of a conservative and probably loved the final concert most, I always appreciate and enjoy the mix of old and new or less well known compositions. I have thoroughly enjoyed many pieces which I would probably have chosen not to listen to on the radio. So many thanks to all concerned and very best wishes for the next season.
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We adore the variety-the programs are just what we want-a good mix of classic, romantic and contemporary.
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Orchestra wonderful as always. Alive, vital, tranlucent sound and spirit.
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Consistently wonderful playing, great varied repertoire and the Beethoven 4 finale was just out of this world! Thank you, you are all national treasures.
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2009 was another fabulous concert season by the ACO. I'm now counting the days to February 2010.
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Each year ACO concerts continue to delight and excite the audience with superb renditions of well known and new work. The musical brilliance of Richard Tognetti and the superb dedication of its players to produce such wonderful music enthralls us at every concert.
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I love your eclectic program, the unique (Aussie? Wollongong?) style of presentation - a great mix of laidback and remarkable talent. Don't change! Thanks for 2009's delights.
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I enjoy them all, and want to give a big "thumbs up" for the more/most "contemporary" music along with the romantics and classics and baroque which I also love. I think it IS possible to have too much Mozart, and I want to affirm the pleasure of stranger sonorities and structures along with the familiar ones.
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Always interesting (if unexpected) programming and the feeling that you are all listening to each other. Thank you!
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Just that I enjoy your music so much! I feel like I am part of a family! Such high standards and innovation.
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Fantastic, as usual. Like the new outfits too!
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The talks prior to the concerts are most helpful. We enjoy the concerts immensely - it is so easy to lose oneself in the music of such talented musicians. Thank you.
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Highpoint was the performance of Schonberg's Transfigured Night in June - I bought a CD by another group but it was less good. Thank you!
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As a first time subscriber in 2009 I was totally satisfied & delighted with all of the concerts.
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Fabulous as always. "Fantasia on a Theme by Thomas Tallis" was an absolute highlight.
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I have enjoyed all the Wollongong concerts very much although the Romantics left be a little less happy as I did not like the Brahms composition. Generally the performances have had that precision, vivacity and sensitivity that is characteristic of the ACO.
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Always enjoyable - would always be happy to hear more new works, but this year has had a good serving of them amongst the classics. The ACO is the last subscription I would ever consider giving up as your concerts are always uplifting and often exhilerating - it is refreshing to see professional musicians who look like they enjoy performing - so many others look as excited as if they were working in an office, doing the photocopying. Not looking forward to the move to the Melbourne Town Hall as the acoustics are a bit woolly, but this too will pass.
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Always very impressed with the high calibre of the performances.
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Loved Dawn Upshaw-very different songs. Pekka Kuusisto-great fun and great music. Really enjoyed the Resonance concert.

| 26 Nov 2009

17 Nov 2009

Sunday’s ACO concert at Hamer Hall began with Brett Dean’s Testament, a work inspired by Beethoven’s Heiligenstadt Testament of 1802. Written when Beethoven learned that his hearing loss was irreversible and would only continue to become more profound, the statement was addressed to the composer’s two brothers as a kind of will, though it is much more an anguished expression of despair over the state of his health and over his increasing sense of isolation. In it he laments his increasing deafness but also gives voice to his determination to find new ways and means to compose. Addressed though it was to contemporaries, the statement remained a private expression of the composer’s anguish throughout his lifetime: Beethoven never mailed it and it only emerged among his private papers after his death.

Originally scored for twelve violas, Dean’s Testament was more recently re-arranged for orchestra. Though I have never heard the original, I can only speculate that the re-orchestration has added significantly to the impact and poignancy of the piece. With the participation of woodwinds and drums the piece emerges as a sort of meditation on music making, an evocation of Beethoven’s determination to fully exploit the materials at his disposal. It is also evocative of his intense frustration: early in the piece various techniques mimic the distorted aural universe of impaired hearing – low-grade buzzing from a muffled snare drum, harsh muted rumbling from strings played with non-rosined bows, and high-pitched ringing from flute and piccolo. These effects enter, depart, and re-enter, interfering with and competing against tones and phrases in search of musical organization. In the end, however, victory is achieved as the composer presumed to be hearing these sounds – the Beethoven of Heiligenstadt – finds the means to continue composing. A confident, spirited finale emerges, free of sonic distortions.

The other two works on the program were composed within a few years of the Heiligenstadt Testament, during one of the most productive periods of Beethoven’s life. One a standard of the repertory, the other not, both were played with the same energy, daring, and conviction that one has come to expect from the ACO. The soloist, Dejan Lazic, managed to bring a new immediacy and freshness to a work that I for one didn’t think could ever sound new again. Some of Lazic’s phrasing was eccentric but it was often meltingly graceful and always compelling.

Passing the direction back and forth from each other, Lazic and Tognetti kept the inherent tension in the dialogue between orchestra and soloist extremely high. There were admittedly a few moments when it sounded as if signals might have been missed, but these were brief and in no way marred the performance. It was in fact this level of intensity and apparent willingness to take some risks that made the performance all the more exciting. (I mean the following in the most positive sense: At many ACO concerts, you can actually see the members of the ensemble ‘working’ with each other.)

This particular performance of the Fourth Concerto suggested a relationship between the soloist and orchestra that was more tug-of-war than polite dialogue. Nowhere was this more evident than in the opening of the 2nd movement. The insistent, belligerent figure from the strings seemed to be repelled – at first almost ignored – by the gentle lyrical motive on the piano, played pianissimo and with utmost sensitivity by Lazic. After repeated tussles – successive diminuendos from the orchestra against increasing boldness from the soloist – the two come to an understanding, though it’s the piano part that carries the day in that movement. Heard so soon after Dean’s Testament, it felt very much like a victory of lyricism over the opening almost purely rhythmic idea from the strings.

Lazic rewarded the audience’s enthusiastic applause with a whimsical rendering of Freundliche Landschaft (“Pleasant Landscape”) from Schumann’s Waldszenen.

The performance of the Fourth Symphony communicated the joyfulness and bravado of the work. The entire ensemble seemed to revel in the rhythmic drive of the piece, but Tognetti always managed to strike the right balance among sections, allowing the various orchestral textures Beethoven was exploring at the time to emerge with clarity. The use of the woodwinds – in particular the bassoons and oboe – in the fourth movement was especially remarkable.

And once again, the afternoon’s clever programming made it possible to listen with new ears. Looking backward, Dean used some of the same woodwinds in Testament. When those instruments emerge in exposed passages in the Fourth Symphony’s last movement an hour later, the ‘echo’ (retroactive, as it were) is strong enough to bring the underlying programmed message of Dean’s work back to mind. This listener at any rate was nudged to listen more closely and to reflect on Beethoven’s efforts at that particular anguished yet fertile juncture to use these sounds in new ways.

Hats off to Brett Dean for offering such a though-provoking, and touching, reflection on Beethoven’s Heiligenstadt crisis, and hats off to the ACO for another exciting, edge-of-your-seats performance.

Christopher Billy | Audience Member | 17 Nov 2009

16 Nov 2009

Beethoven 4 - Don't miss it!

Brett Dean's Testament provided the perfect introduction to Beethoven's 4th Piano Concerto and Symphony. Testatment is a depiction in sound of what Beethoven may have experienced physically and emotionally when losing his hearing, and the piece was brought masterfully to life by the orchestra under Richard Tognetti's direction. Contrasting soundscapes were created using a variety of orchestral effects to evoke the panic and fear - morendi, pizzicati, rosined and unrosined bow work, and slightly distorted sustained notes. Contrasting this was the transient call out to the slow movement of Beethoven's Op. 59 No. 1 String Quartet, followed by the final section with its sense of terror and urgency. These musical and formal elements all combined to great effect to depict the flickering of Beethoven's hearing and to stimulate audience empathy for the composer's plight.

After the struggle of Testament, Beethoven's 4th Piano Concerto in G Major sprang to life. Dejan Lazic is a truly mesmerising young artist, whose depth of phrasing and dynamics in the Beethoven was astonishing. His musicianship and technical mastery of the concerto were finely balanced - sparkle and drama in the more demanding technical passages of the concerto contrasted superbly with lyricism and musical tenderness where the music demanded it. With the orchestra's support, this was an electrifying performance. To conclude the first half, the young maestro played Schumann's Pleasant Landscapes from Forest Scenes, to a standing ovation.

To round off the Beethoven experience, the orchestra played Beethoven's 4th Symphony in B Flat Major with its usual flair and spirit, with some fine solo work from the 'cellos and woodwind section, particulary the principal clarinet, in the last movement. Lovely articulations and contrasts abounded, making for a satisfying dénouement to the afternoon.

Review by Facebook fan Caroline Webster | 16 Nov 2009

29 Oct 2009

If I only had twenty minutes on Planet Earth and it was spent (as it was last night) listening to Richard Tognetti and the ACO's unbelievable interpretation of the sublime Vasks, it would have been well worth it!

M Stefanakis | 29 Oct 2009

18 Sep 2009

I really didn't know what to expect and was delightfully surprised at the calibre of the musicians, the way they interacted with each other and the way they spoke to the audience with their instruments - even with humour! The performance was well worth the money and the time and I highly recommend anyone who appreciates high class musicianship to see them.

Marwood Audience Feedback | 18 Sep 2009

18 Sep 2009

I was extremely fortunate to attend last Tuesday's 'Tour Five Marwood, Mozart & Mendelssohn' concert at the Adelaide Town Hall - I have never, ever heard such fine playing - I am still swooning from the experience - one I will never forget and I doubt any other ensemble will be able to match, so congratulations. J McGuirk, Adelaide
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I really didn't know what to expect and was delightfully surprised at the calibre of the musicians, the way they interacted with each other and the way they spoke to the audience with their instruments - even with humour! The performance was well worth the money and the time and I highly recommend anyone who appreciates high class musicianship to see them.

Your Say - Audience Feedback | 18 Sep 2009

14 Sep 2009

In contrast to the MSO concert which I was very much looking forward to yesterday, this ACO concert is at the bottom of my excitement list out of ACO concerts this season. There are several reasons to this: (1) I don't know any of the music advertised apart from Schumann's Cello concerto - which is not my favourite cello concerto. (2) Compositions by young Mozart and Mendelssohn are usually, simply put, boring. (3) I have never heard about Kinsella. (4) Schumann Cello Concerto transcribed as Violin Concerto for some reason, doesn't appeal much to me. Despite all of these reasons, this concert proved that I was a fool to prejudge music before listening to them and I enjoyed this concert immensely. Add to that, ACO actually played 2 more programs (Carl Vine's and Golijov's pieces) than the advertised program in the season brochure. Good on them!

Mozart's youth work, Serenata notturna, K. 239 opened up the concert. From the bouncy opening rhythms, quite similar to his 4th Violin Concerto I should point out, this piece delights the audience by its playful main theme which comes back several times in the first movement. Scored for strings and timpani, it's very captivating to listen to the timpani sound contrasted against the rest of the strings. Particularly striking is the timpani solo played on top of pizzicato strings. While the 2nd movement is charming with a lovely trio for string quartet accompanied by the rest of the orchestra, I'm sure the audience will remember the last movement the most. The main theme, which was stated a couple of times in this Rondo movement, is followed by several dramatic pauses, in which the leader of each section would improvise playing musical jokes on their own or play little duets, trios, or even quartets amongst them. My favourites are the double bass and the timpani improvisations. The good thing about these improvisations is that most audience understand that they're supposed to be jokes, and gave a few chuckles after each improvisation.

After the playful and light-hearted Mozart, we're treated with John Kinsella's Prelude and Toccata. A much more serious tone piece, I was really impressed with the Toccata section in which seemingly endless ostinato passages full of running semiquavers are played with extreme contrast of each other, sometimes pianissimo, other times fortissimo. This piece certainly requires a considerable virtuosity from every orchestra players and ACO nailed every fugal-like entry to perfection. The big question mark of unresolved chord that ended the piece is the only bar of music that I don't really like from this piece.

Probably the weakest performance of this concert is of Mendelssohn's String Symphony No. 12. I'm not really fond of the fugue in the first movement of the piece, but I enjoyed the 2nd movement immensely due to the creative writing of a solo viola and cello playing a counter melody against the main theme of the movement played by the rest of the strings. The final movement is fast paced, ending with breakneck speed in the coda and the work ended with the same 3 notes of the first movement of Mozart's 40th Symphony, which is written in the same key (a tribute from Mendelssohn?)

Carl Vine's XX (pronounced eiks-eiks) is a piece written for a solo violin and strings. Marwood stepped in as the solo violin, playing a short passage, echoed by the orchestra, another passage (more complex this time), another echo, and yet another passage (and even more complex) and echo. After that, the solo violin plays a rhapsody-like passage on top of the orchestra accompaniment before it joins back with the orchestra playing unison. Rhythmic is an accurate word to describe this piece and there's even a passage so similar to the opening of Stravinsky's march in the Rite of Spring (right after the introduction). You can watch an ABC short news about this piece here. The Stravinsky bit that I was referring to is played by the orchestra at 01:45 mark. As you can gather from the ABC feature, Carl Vine meant this piece to be a tongue-in-cheek piece, and the end of this piece is a rather unexpected musical joke.

The advertised heart of this concert is Schumann's Cello Concerto arranged as Violin Concerto and reduced set of instruments (no woodwinds or brass). Marwood played the solo part beautifully without going too overly sentimental. I loved the duets between the violin solo and the principal cello in the second movement, while at the same time feeling slightly awkward with woodwind melodies played by the strings. In the finale, Marwood's gorgeous playing and tone really enhanced the enjoyment of those highly lyrical passages. Murray Black wrote a very good review on this in The Australian.

Finally, the audience was served with the first movement of Golijov's Last Round. The marking of this Argentinian composer is an interesting one: Movido, urgente: Macho, cool and dangerous in the program notes. The whole work is based on this simple theme, which was varied with different rhythm, tempo, texture, and colour. As a musical portrayal of a wild tango, ACO attacked this music in a similar fashion with plenty of energy without losing their focus. A great performance to end the concert.

Summing up, I enjoyed this concert very much. ACO's wonderful programming really shone through here with audience being lead away from their comfort zone to try listening to some more challenging works. This would probably convince me enough to renew my subscription next year.

Blog: Appreciating and loving classical music | 14 Sep 2009

11 Aug 2009

I would like to thank Richard Tognetti for his support of ANAM here in Melbourne - not just with words but deeds. It has been an utter delight to see young ANAM musicians being absorbed into the ACO. And the ACO2 concert I attended recently at the South Melbourne Town Hall was absolutely inspiring.
Second, I would like to thank him for (finally) programming Metamorphosen - which for my family is one of the great works of its century. We have been hoping for this for years. The whole Resonance programme was a marvel. I attended both Melbourne performances with my son, and we agree that Monday particularly was probably the year's best concert.
With every good wish and many thanks for wonderful musical experiences, Yours (Dr) Kay Dreyfus
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I'd like to say how much I enjoyed the Resonance concert in Canberra last night. I hadn't heard of any of the pieces but enjoyed them all much more than I expected, especially the Xenakis piece. Congratulation on a very adventurous piece of programming - please do it again!
Regards
Simon Kravis
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Thank you, thank you for your lucious, resonant and rewarding concert in Canberra last night. The choice of program was inspired and thematically coherent. It demonstrated, of course, the ACO's fine musicianship but also, I think, an intelligent understanding of the twentieth century repertoire and its continuing significance for our cultural history and memory.
Thank you. Alastair Walters
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I was at the ACO performance at Hamer Hall Melbourne on Sunday 9th August. The performance of the Tallis Fantasia was just exquisite. I have loved this piece all my adult life (40 years, starting with Barbirolli in 1958) and I have loved many different recordings...but IF I had a recording from yesterday's ACO performance IT would, in my opinion, be the very very best. Please record the Tallis Fantasia and make it available on CD.
Thanks, Steve Wilson
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A group of us (including some 8 and 10 year old violinists) travelled from Ballarat today to come to "Resonance" and want to thank you for a truly incredible experience. It was a privilege to witness and be in the moment with your achievement. I wonder how such precision and beauty could ever be surpassed. The collective (many) years of commitment, work, thought, emotion and awareness that are amassed in your orchestra resulted in a performance that defies description.
Thank you again. Sarah Walters
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It was genius programming, brilliant performance and an absolutely sensational concert.
Lucia Cascone
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Great concert last night at Hamer Hall. Superb Programming. The V Williams and Metamorphosen were exquisite. I really enjoyed the contrast of the Bartok and Xenakis with the other works. The extra Basses played with great restraint and really made for a warm sound. Thank you so much for a really great concert. Michael Dawe

Resonance Audience Feeback | 11 Aug 2009

14 Jun 2009

Brilliant programming… ACO's string sextet provides plenty of drama where it is necessary, but is also beautifully restrained... I commend them for avoiding over-the-top romantic playing of these intensely romantic pieces. Looking forward to their next performance in August.

Blog | Appreciating and loving classical music | 14 Jun 2009

13 May 2009

ACO concerts never fail to engage, challenge and delight. The programming is tasteful and interesting and the performances always impeccable. I look forward to each and every event. This year I purchased two subscriptions and the guests who accompany me are always deeply impressed. Richard Tognetti is a gem and the breadth of his interests, extending as they do to the realm of the physical with his surfing, are an example to us all of the richness of life's experiences. Well done to each and every member of the ACO. - G Thomas
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For my taste the ACO is the most polished, exciting, accomplished orchestra we are fortunate to have here in Australia. I don't attend all concerts, and I don't take a subscribtion, due to an uncertain personal programme, but whenever I attend a concert I never fail to be delighted by the performance. The last concert I went to was the Dawn Upshaw, and I thought it was simply wonderful! - B Ebes
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Every concert with the ACO is a special treat. We never miss a Brisbane concert. We have also been enjoying " Musica Surfica" (the DVD) immensely. - J Allsop
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The ACO's concerts are always inspiring and uplifting! We recently spent 5 years in Europe listening to some of the best musicians in the world and returned to Oz to find that the ACO is as good as any. Keep up the fantastic work and MANY THANKS. - S Crock
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I'm sitting here listening to one of ACO's CDs. Wonderful listening. Richard Tognetti is such a brilliant violinist. - M Whitstock
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I love the way in which you mix the new and the old/traditional etc and have guests who are truly excellent. - J Lumby
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ACO concerts never disappoint us. We greatly admire the Orchestra's energy, discipline and virtuosity. Excellent value, especially now with free programme! - R Ede
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Tognetti and the ACO are the best group of its kind. My wife and I enjoy at least 95% of the selections. - D Hugone
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I found the ACO to be an outstanding group of professionals - loved the concerts and always listened to the music played with full focus! - J Phillips

Your Say General Feedback | 13 May 2009

24 Apr 2009

Hello! Just a quick note -- I saw you guys last night in Santa Barbara, and much as I love Baroque music and have been listening to it practically since I was born, you guys blew me away. I have NEVER heard Vivaldi attacked with that much blood-and-guts verve before. The Handel arias were all magnificent of course, but I'm a Scholl fan.

The Haydn absolutely blew me away. I'm not familiar with his stuff, since I tend to hop clear from high Baroque to late-1800s opera buffa, but I'm going to close that gap now. That #44 that you all did is probably one of the best live music performances I've ever heard in my life, of any kind -- and I'm including classical, opera, and rock in that. If you don't have it out on CD, I may cry. And Rameau! Another new name for me to chase down, and you shot it to the Moon.

Anyhow, THANK YOU for your performance (and for soldiering on so brilliantly despite that goddamned hearing aid feedback). I am so thrilled to have heard you. Like I said, I'm already a fan of the high male voice, so I knew Scholl would be fantastic although I have a feeling me may have been under the weather, but you guys opened a whole new world of fabulous for me. THANK YOU! - J. Cortese, USA

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I attended your performance this afternoon in Berkeley, CA. I want to thank you for a truly memorable musical experience, and especially for giving your all despite a less than stellar audience. I hadn't heard you live before, and definitely will again!

Thank you. A stunning musical gift! - M. Ley, USA

US International Tour Your Say Feedback | 24 Apr 2009

04 Apr 2009

I have just come home after 'Luminous' extraordinary. This was an unbelievable evening to be a part of. The photography was sublime...Katie Noonan left me speechlees. And Mr Tognetti beyond compare. Thank you for an inspirational performance. P Cook NSW
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I experienced last night. An inspiring collaboration between Richard Tognetti, Bill Henson, Katie Noonan and Paul Healy. It was amazing to come out of the theatre feeling creatively free and a little lightheaded (in a nice way!) from a sense of limitlessness. Blog|Souzou: creativity from your imagination
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I was lucky to be surprised to front row seats on Friday night when Ant took me to Luminous. I love music, art and theatre. Luminous artfully combined Bill Henson's photographs, the Australian Chamber Orchestra and Katie Noonan's voice. It was definitely a sensory experience. The performance began with an eerie sombre mood , showing Henson's flemish photos, dreamlike visions of the human form left me with my imagination to create stories in my head. The people in the photographs reminded me of Boticelli's the Birth of Venus....Luminous. How the light touched their skins . The concert hall glowed and beautifully mingled with Richard Tognetti's music. A sensory experience. Beso! Blog|Roxyheart

Luminous Your Say Feedback | 04 Apr 2009

26 Mar 2009

My first time at ACO concert in Perth, it was amazing! Being from Europe myself, I have a particular attraction to Scandinavian composers for some reason. Finnish folk is great! I want to hear more of it for sure. Thanks, Pekka, for bringing it to Perth. It's so funny, how the audience laughs at everything you say... :-)
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Ah, Pekka Kuusisto is so expressive of sweetness and joy. He brought warmth to my heart and a tear to the eye. There is nothing so infectiously delightful as seeing great musician take pleasure in his music.
More please! New Kuusisto Fan, Adelaide
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Once again I attended a wonderful ACO concert in Melbourne last night. I love Bach and Sibelius but I was being exposed to the latter's String Quartet for the first time. I found it one I want to hear again. I hope you record it. I also loved the encore thus I would appreciate it if you could advise me of the title and composer of it please. Thankyou very much for an enjoyable and stimulating programme and a replacement leader who I find absolutely fascinating and who is second only to Richard. Best wishes, Ivor
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My wife and I thought your concert on Sunday at Hamer Hall was absolutely wonderful. Pls pass on our congratulations to all concerned. It was magnificent. Could you pls advise us of all future concerts in Melbourne for 2009. P McGregor NSW
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Today I have come from a delightful concert but the program supply was unsuitable. We normally arrive somewhat early to have time to read the program and to hear the talk. There were some programs out at the downstairs area where the preconcert talk was given but not enough for the patrons. P Luxford VIC
Response from the ACO: We have asked all venues to ensure that there are plenty of programs available in the foyer for anyone who wants to read them for up to an hour before the concert.
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Thanks for the concert last night. I have a real spring in my step this morning - I loved it, and Pekka's adorableness! G Gonczi NSW
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Thank-you for a most enjoyable concert in Newcastle last Thursday evening. It's a privilege to subscribe to ACO concerts and be able to attend concerts such as this. We've been recommending it to our Sydney friends. R and B Lyle NSW
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Yesterday's concert at the SOH was amazing. The young Finn gave everyone much joy - not only does he play superbly and led the orchestra with great ease but also has a great sense of humour. I would think Pekka K to be a genius! Thankyou for a superb afternoon's performance. We are most fortunate to have such an accomplished group as the ACO. Suzanne M-B NSW
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Thanks for another superb concert...heart warming and uplifting. The free programmes commenced this year are much appreciated, however it was difficult to get hold of a programme at the Perth concert last week. They were not available before the concert and I was not lucky enough to be sitting in a seat with a programme on it. From my understanding the Perth Concert Hall has taken decision to distribute the programmes by placing them on every second seat. R Tamke WA
Response from the ACO: It is ultimately the Perth Concert Hall’s decision to distribute the programs in this manner. We have asked that they also display programs in the foyer to help with this situation.
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Congratulations on a brilliant concert last night in Brisbane! G Byrne QLD
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It was a privilege to be in the audience last night. A perfectly balanced programme, beautifully played with a touch of light-heartedness to finish sent us home in a happy state of mind. So refreshing after all the "stuff" going on in the world today. C Harrison QLD
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I thoroughly enjoyed last nights performance, Inner Voices, and it was fantastic to see the Finnish humour presented to us Queenslanders. As one who is currently discovering her Finnish heritage, my heart sung whilst the tears rolled from my eyes. I am not a subscriber to ACO yet, but will be strongly hinting it as a Christmas present. I am in Brisbane and therefore would like to know about the packages and prices so I can pass it on to my Target. E Hain QLD

Pekka Kuusisto Your Say Feedback | 26 Mar 2009

16 Mar 2009

A very interesting concert, mixing the old and new music with Sibelius at the core of the program. Andrew Ford's music is a very interesting one, starting with the lead violinist played some theme only to be followed by the other strings one by one until the whole strings seemed to be playing by their own. They kept doing that until the second theme enters, where the strings behaved much more orderly and it ended with the same three notes as the opening of the third Brandenburg Concerto. The mysterious sound is now swept by Bach's masterful concerto which was gorgeously played, albeit a little bit subdued. Flowing melodious performance without any huge exaggeration. The mysterious adagio was played by the harmonium, and then the music launched itself again to the joyful, upbeat third movement. Nice satisfying performance.

The heart of the concert is the performance of Sibelius' String Quartet in D minor, arranged by Pekka Kuusisto. It started with the duet between the violin and the cello, followed by a highly exciting tremolo passages in the 2nd movement and to be slowed by the broad Adagio di molto, where the music sounds like Sibelius expressing his inner voices. Very moving and highly satisfying, especially during the last few bars of the movement. The quiet chords where Sibelius wrote 'Voces Intimae' has a strange effect. The energetic 4th and very fast 5th movements were all brilliant. A very good piece.

Bach's E major Violin Concerto followed after the interval, and again, it was played in a similar manner as the Brandenburg. The sound is not overwhelming, nothing over the top, the soloist did not sound remotely romantic, all to the good cause of the music. Pekka actually played the music rather freely, as can be seen with his gesture during the piece where sometimes he just turned his body around, lowered his violin when playing some passages and smile to other members of the orchestra.

The last piece was a Finn folk music, good upbeat outer movements with some aggressive playing from the cello and bass. The second movement was a slow wedding march providing a nice contrast to the outer movements.

As if I have not had enough Finnish music for the last 24 hours, we were given a Finn folk music by the orchestra as the encore. Very singable tune, I can still hum to the tune 15 minutes after the performance until my short term memory was wiped out.

Good number of audience, I guess it might have been 90% full in the Circle and Stall sections. Next concert: Bach's St. John Passion - next week!

Blog | Appreciating and loving classical music | 16 Mar 2009

13 Feb 2009

Have your say, use the online form or email aco@aco.com.au to send us feedback.

Thankyou for last night's open rehearsal. My son-in-law and I thoroughly enjoyed the half hour concert and it was wonderful to be so close and to see the players in such an environment. How lucky are we to have the ACO! Also thank you for your hospitality as it was a most convivial environment in which to chat to members of the orchestra. Think I enjoyed the concert last Sunday more than any other!

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Great concert last night (Dawn Upshaw). Greatly improved program. I say this not because it is free (greatly appreciated) but because the layout and information has improved greatly as has the writing quality. I really appreciated the inclusion of a selected discography in the program. Thanks very much to all concerned.

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Last night's Sydney Dawn Upshaw concert was truly wonderful (10/02/09) but why do most of your performances begin late!

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Thank you so much for the interesting free programme yesterday at Dawn Upshaw's spotless recital. I want to thank the programme notes' writer  KP Kemp and I like the light-hearted sense of humour particularly in the biog of Christopher Moore. Much has been written of the concert itself. Rather than repeat the many superlatives, may I add that my enjoyment was mainly of the pianissimo passages which were as light as a whisper, as if Mozart in particular - had told Richard exactly what he wanted, a mere whisper in the ear, the gentlest and most subtle of differences in each change - how the mood told us everything anyway, and how the faces of the musicians showed their involvement. What a delight it must be for those entrusted with the care and playing of the treasury of ancient instruments and hello to the debut of the 'new' old French horn too.

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I thought the first concert for 2009 was stunning! Dawn Upshaw was fantastic and I'm off to buy some of her CDs. I'm mightily impressed with the new format of the program and the fact that I can download it prior to the concert... that's really, really good! Also appreciate the explanation of some of the technical terms. I'm not a musician, so I find those very helpful to my overall appreciation. You really do bring us a lot of joy - and I especially appreciate how much you all so obviously enjoy playing. Keep up the good work!

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Congratulations on at last joining other major arts bodies in Melbourne (e.g. the MSO, the Melb International Arts Festival) in offering a free program to concerts. And what a surprise! Not some simple and basic information sheet, but a lively, chirpy and even humorous publication - a real joy: just like the ACO really. And what a wonderful start to 2009 with Dawn Upshaw - such an effortlessly superb performance - and the band going gangbusters with Mozart. Take no notice of what Clive O'Connell says. He's just an old grump more concerned with a note by note exactitude than enjoyment of the total offering. Looking forward to the rest of the year - and enjoying those programs.

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I have been a subscriber for a few years and enjoy the performances so much that I wanted to pass these comments on to you. I was explaining why I liked the concerts to a friend and wanted to send you a copy of what I wrote.
 
The ACO anything but polite chamber music, it is music with muscles.
 
In fact, the ACO embodies the very best bits of what it means to be Australian - creative, irreverent, edgy, and free. They push the boundaries with a rule-defying maverick experimentalism linking the visual, pop, and classical worlds - and produce some beautiful music.The music, the music the music, it is intoxicating, and for me very occasionally achieves a compelling 3-D effect, as if you could run your hand along it in midair. The programs are suffused with optimistic sunlight, and it catches your heart the way a stray branch in the bush catches the sleeve of your jumper.
 
Thank you so much for brighting my world.

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Comment on last night's concert.

What a great start to the year!  So exciting! You treated us to a concert which was outstanding even by ACO concert standards; to the sheer quality and purity of Dawn Upshaw's voice and a togetherness with the orchestra; amazingly beautifully played Mozart; interesting and clever sound in the tribute to Richard. How happy we felt  and feel!

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The concert on Friday was a absolutely brilliant and words can't describe Dawn Upshaw's performance - it was just stunning. The Golijov reminded me a  bit of some of Tavener's work which I love and I must get the disc.

I must say that all ACO's concerts are wonderful (with very very few exceptions - occasionally the odd non-musical artist collaboration leaves me a bit cold, but interesting all the same) and I just loved the tjhree-day festival at Vasse Felix in early December. Alice Evens and Melissa Barnard were at our table for the dinner so that was great fun.

The litte Bartok pieces were such a nice way to get to know members of the orchestra a bit better and the whole occasion seemed to be very relaxed for the orchestra - and we, the public and the fans, thought it was fantastic and felt very lucky to be there.  Roll on the next Festival in December!

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Ooh, ACO! That concert was simply superb.  The lack of program was handled so well by Richard.  The Ledger (I loved every note) was played with such relish and pleasure. The Mozart was a joy and Dawn (for whom we’ve been waiting) what a stunning choice of repertoire for a stunning voice. I can’t wait to hear her sing the Golijov again, and the Bartok.

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It was a truly wonderful concert, such a joy to experience.

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A concert made in heaven.

Dawn Upshaw concert attendees | 13 Feb 2009

03 Feb 2009

Congratulations on at last joining other major arts bodies in Melbourne (eg the MSO, the Melbourne International Arts Festival) in offering a free program to concerts. And what a surprise! Not some simple and basic information sheet, but a lively, chirpy and even humorous publication - a real joy: just like the ACO really. And what a wonderful start to 2009 with Dawn Upshaw - such an effortlessly superb performance - and the band going gangbusters with Mozart. Take no notice of what Clive O'Connell says. He's just an old grump more concerned with a note by note exactitude than enjoyment of the total offering. Looking forward to the rest of the year - and enjoying those programs.

T Berry, VIC | 03 Feb 2009

02 Feb 2009

The Australian Chamber Orchestra is on tour with soprano Dawn Upshaw, who had to cancel her 2003 concerts here due to serious illness. Clearly her recovery has been solid, with no signs of fatigue or production problems in her contribution of works by Osvaldo Golijov, Bartok and Richard Strauss.

In fact, the obvious shortcomings came from the ACO itself; not the central core of strings, but some guest wind players for two Mozart works.

To celebrate artistic director Richard Tognetti's 20th anniversary leading this hallmark ensemble, Perth composer James Ledger produced Restless Night, a spiky, entertaining bagatelle with a wry conclusion well suited to its dedicatee's personality. The following performance of Mozart's A Major Symphony No. 29 came across as finely prepared by the strings but the pairs of horns and oboes playing original or replica instruments sounded shaky, particularly at entry points, unsettling the ACO's usual flawless fabric. Matters improved after interval with a firm account of the Sinfonia Concertante K. 364, Tognetti taking the solo violin line and ACO principal Christopher Moore supplying a solid counterweight viola.

But the afternoon belonged to Upshaw, displaying her artistry not just through technique but in consistently involving interpretations, even in music that reveals a distracting wealth of references and influences.

Clive O'Connell, The Age | 02 Feb 2009

25 Nov 2008

BEETHOVEN 8 FEEDBACK

"Euphoric last night Wednesday November 19 Sydney was one of the most exciting concerts in a long lifetime. The whole programme was charged with energy, excitement, creativity, talent - and audience reaction was electric.  Thank you ACO.  Please please issue this on a CD - guaranteed a sell out to top the charts! Wow!"

"Fantastic! Incredible! Words fail me. Have you bottled it yet? I would imagine it was recorded but was the performance filmed so that we may relive it? I have been a subscriber for about 10 years now and find it is the best subscription I have. My sister in law has subscribed for longer and thought it was the best concert she has ever been to. The orchestra should take another bow.Many thanks."

"The concert at Angel Place on Saturday was magnificent – is there a chance that you will make a CD?"

"The Perth concert last night was superb.  The playing was exciting, moving, splendid, emotional... indeed, euphoric.  The Brahms was wonderful. The man next to me said that it was one of the two or three most memorable performances of his lifetime. I agree. Thanks to Richard and the whole orchestra. We understand that it is expensive to bring the expanded orchestra to Perth, so are really grateful that such a large band was able to make it across the desert."

"Sensational concert - Saturday.  You certainly have power over our emotions!"

"Congratulations to all. Sunday's "Euphoric" was just that."

"Thank you for the Euphoric concert in Perth last Wednesday. Truthfully, I was deeply depressed that day, not really my tendency, but unfortunately there are aspects of my situation that are that grave.  Despite that, true to the title of the concert, my dysphoria has evaporated.  It started with the very uplifting Prokofiev and continued with the astonishing virtuosity of the Brahms. The Beethoven was powerful but I was deeply touched by the gift of two encores. Call me Romantic but the Tchaikovsky moved me to tears - felt like my heart was waltzing with flowers! And the Sibelius called "Death" (apropos of my former mood) was just beautiiful even if emotionally different from the rest. So, I am writing to express my gratitude for the psycho-therapeutic benefits of the recent concert.  I look forward to hearing and seeing you at Vasse Felix on all three evenings, a highlight of the past two years! " (Dr J Resnick)

Beethoven 8 Concert-Goers | 25 Nov 2008

12 Aug 2008

It's a pointer to what a sheltered life I've led. Last night was my first time. At the City Recital Hall, which, acoustically, at least, matches the Sydney Opera House Concert Hall (and then some) and is, I think, more comfortable; it's certainly a more conducively intimate size.

The Australian Chamber Orchestra, during the course of my adult years, seems to have come from nowhere and gone to the stratosphere. For its foundation, we've John Painter to thank. For its continuation and flowering we've many to thank, but, of course, not least among them, longtime Artistic Director, Richard Tognetti.

Tognetti, it seems to me, has quietly, surreptitiously railed against the strictures, often self-imposed, on classical music and musicians. I shouldn't imagine there'd be too many orchestras worldwide in which (male) members have earrings and mohawks. That's bound to signify a more modern, slightly upstart, challenging approach.

The audacious attitude pays off. There is much fine music available to one's ears, but not nearly so much of it delves so deeply into the motivations and spirit of the music. Not nearly so much of it stirs, excites and arouses like ACO renditions. Commitment is physically evident in lead violinist, Tognetti; his second, Helena Rathbone; principal violist, Christopher Moore; principal cellist, Timo-Veikko Valve and, on this occasion, special guest, one of the world's best, cellist Stephen Isserlis. Loving your work would seem such a rare commodity, it's always a pleasure (nay, thrill) to watch and, of course, in this context, we get to hear it, as well.

Last night's programme began with a concerto for cello & an exceptionally well-chosen one, for it allowed plenty of room for Isserlis to show what he's made of: not stern stuff, but a relaxation, comfort and empathy which enables him to take his almost inestimable technical proficiency into another realm; the realm of feeling, so often lost in more serious-minded attempts to reproduce old music. Isserlis, through his humanity and humour, gets inside the music and, I get the sense, the composer's head. This is a musical prize which even surpasses his instrumental gift. Thus, Bach's (but one of the 'lesser' Bachs, in Carl Philipp Emanuel, who died, albeit in Berlin, around the time of first settlement, in Sydney) allegro, largo and final movement of his piece, in A major, were given the kind of airing one expects might have won an ovation from the maestro himself. The piece itself has the unmistakable hallmarks of the many and various Bachs: that pleasing, jaunty, Teutonic symmetry which, had he listened to more of it instead of, say Wagner, might've soothed the savage beast that reared-up in a certain Adolf. It's all about a happy ending; (a characteristic of the form my partner contends to be universally boring, she being more captured by the likes of Bartok, whose demanding work I find, well, demanding work). Essentially, the ACO and, particularly, Isserlis, made a delightful that much more delightful, with an unamplified sound, on sensational instruments, so pure, in its impurity (for we heard every click and moan of bows on strings), so warm and enlivened, it quickened the pulse.

Woldemar Bargiel (did he get teased at school, or was every second kid named Woldermar, in 1830s Berlin?) and his Octet in C minor, were the centrepiece for the evening. Apparently, Bargiel had a bit of a competitive streak and was seeking to rival Mendelssohn, who fashioned the template for octets, at just 16! WB was an elderly 19 when he drafted his and, while it's generally agreed his predecessor takes gold, this is a worthy silver. Also in three movements, but effecting, arguably, a deeper emotional trajectory than the Bach opener, it doesn't perhaps have the maturity or originality which would set it on a winner's podium. Notwithstanding such caveats, it has heart, despite taking itself a little too seriously and introspectively.

A glass of champagne, at interval, was just the thing to settle in for Ravel's brief, but intensely moving and uplifting Hebraic melodies; the first, Kaddish, based on a Jewish prayer and the second, from Yiddish, The Eternal Enigma. The genius of these was in Tognetti's string arrangements, adapted from vocal ones. Both, in their eloquent brevity, proved a simple, but heart bowl of soup can be as satisfying, if not moreso, than an overwrought, elaborate main course.

Bartok, of course, almost requires some kind of warmup and sharpening of the intellect. His rather modern Divertimento for Strings was conceived and written in 1939. My impression is Bartok diverted his attention from impending horrors by losing himself in his music. This seems to be borne out in Bartok's own comments and numerous commentaries. Certainly there is pervasive darkness and foreboding, underscored by BB's trademark rhythmic insistence, carried and communicated powerfully by Australia's national orchestra.

A lusty, vivacious, delicious evening of impassioned playing, from one of the planet's better ensembles.

Lloyd Bradford Syke, Australian Stage Online | 12 Aug 2008

28 Jul 2008

Thank you for an inspired and inspiring concert, particularly 'The Red Tree'.  The way in which the orchestra, choir and visual presentation were blended was quite extraordinary.  I find it hard to find the words to adequately describe my delight in the performance of the young singers.  They are such a credit to Lyn Williams.  I hope there will be another opportunity for them to make a contribution to our wonderful orchestra before too long.

K Marshall, ACT | 28 Jul 2008

23 Jul 2008

Hello,

I was one of the choristers in the production of The Red Tree. 

I truly believe this was one of the most wonderful experiences of my musical journey in life. To have been part of the creation of such a beautiful musical experience (because that was what it was) and to work with such fun loving, creative and supremely talented musicians and composers was an honour.

I want to thank them all for letting us have such a wonderful time. I also would like to assure everyone in the audience that we did not find it at all depressing as we were swept up in the beauty and artistry of the piece.

Thank you, thank you, thank you.

Alex O., (Age 15), NSW | 23 Jul 2008

23 Jul 2008

A Potent Mix

In what was perhaps one of their most ambitious projects to date, the ACO pushed artistic boundaries presenting Richard Tognetti’s arrangement of Shostakovich’s String Quartet No. 15 and The Red Tree – a new work by Tognetti and Michael Yezerski – in a dynamic multimedia concert on June 20 at the Sydney Opera House.

Like the intrepid traveler in the accompanying images, Richard Tognetti took a considerable risk arranging Shostakovich’s 15th String Quartet for the ACO – defiant of the inevitable purist grumblings. Tognetti’s arrangement preserved the stark and austere qualities for which the work is renowned, the themes divided amongst the players creating a simultaneously multi-layered and sparse texture.

It was very effective – the angular sections of the serenade and epilogue were powerfully played and emphasised further the ruminative melancholy of the remaining movements. Tognetti, as usual, led a musically sensitive and accurate performance.

The experience of Shostakovich’s sparse score was enriched by a series of illustrations from Shaun Tan’s picture book The Arrival, projected one by one onto a large screen above the orchestra. Tan’s evocative and detailed illustrations in shades of black, white and sepia depicted a man’s journey from an impoverished village to a new life in a foreign country, and the people and places he encounters along the way.

The connection between this man’s journey and Shostakovich’s meditation on death was intriguingly ambiguous; nevertheless, the overall impression was compelling.

The Red Tree, scored for chamber orchestra and children’s choir, also incorporated projected illustrations describing a journey – through despair to hope – from Tan’s picture book of the same name. The rich variety of textures, styles and colours of Tan’s illustrations were integral to Yezerski conception of the music and the subtle rendering of these was evident throughout the work.

Incorporating texts drawn from various sources, the libretto utilised three languages – Finnish, English and ancient Hebrew – which was conceptually intriguing, although the linguistic subtleties were lost unless the text was already familiar, or you could read in the dark.

The seven movements of The Red Tree took their titles from the names of the illustrations with which they were pared, effectively describing the emotional states which provided impetus for Yezerski score. The gritty dissonances, frenetic string activity and angular melodies were well contrasted with several lyrical sections, and the ACO again gave a polished and well-balanced performance. Under the inspired direction of Lyn Williams, the Gondwana voices sang outstandingly, and the several soloists performed with maturity and accuracy.

It’s not often that audiences in this country are able to witness performances of such a high caliber fusing orchestra, visual art and choir, and it made for a thought-provoking and unconventional concert – perhaps providing creative stimulus for future collaborative projects for the ACO.

We invited members of its online community to review The Red Tree. Watch the blog or join our Facebook group for your chance to review a concert.

Laura Mathison, ACO Community Reviewer | 23 Jul 2008

23 Jul 2008

luved the seeds from the red leaves and theangels voices. thanks for the high notes and the timeless memory luv opal xoxo

Opal | 23 Jul 2008

22 Jul 2008

ACO Shines in The Red Tree

The latest offering from the Australian Chamber Orchestra is a collaboration with artist Shaun Tan and the Sydney based children’s choir, Gondwana Voices. The programme consisted of Dmitri Shostakovich’s 15th String Quartet in E-flat minor, and of a new work entitled The Red Tree, after the book written by Shaun Tan, composed by Michael Yezerski and Richard Tognetti.

The ACO play with a consistently beautiful sound, and their performance of the Shostakovich Quartet was no exception. The work consists of six Adagio movements and is a notoriously difficult one to perform; Richard Tognetti led the ensemble through a precise and sensitive performance of a quality that is not often heard in this country. The orchestra were perfectly together for the duration of the work, and the intonation of the ensemble, even during the quiet senza vibrato sections, was perfect.

Ironically, the weakest parts of the performance were during the solo passages in which Tognetti’s arrangement is closest to the original quartet; Principle Cellist Timo-Veikko Valve played his solos musically but was inconsistent in his intonation, and a cadenza-like passage in the third movement that would have suited a solo player was given to the entire first violin section.

A special mention goes to Principal Bassist Maxime Bibeau, who grounded the orchestra both harmonically and rhythmically in a performance that was not only technically accomplished, but also extraordinarily musical. Tognetti and Helena Rathbone also led the first and second violins with accuracy and panache.

Despite the fact that Shaun Tan’s art suited the Shostakovich perfectly in terms of atmosphere, the manner of the juxtaposition left something to be desired. While the projections above the orchestra initially depicted a migrant narrative, the story was soon abandoned in favour of more abstract images that distracted, rather than added to the performance. Occasionally however, there were images that resonated powerfully with Shostakovich’s work – one depicted a lone figure standing in the shadow of a ruined town, while black snow swirled about him.

Yezerski and Tognetti’s The Red Tree was inspired directly by Tan’s book, making the union of music and art in the second half much more effective and seamless. Neither aspect of the performance detracted from the other; they combined to create a wholly successful work that engaged both the eyes and the ears of the audience.

Lyn Williams conducted the work competently, and deserves accolades for the way in which she prepared the singers of Gondwana Voices, who sang like angels. The ensemble and intonation of the children’s choir was flawless, and the soloists sang parts that many professional singers would have had serious trouble with.

The orchestra played just as well in the second half as they had in the first, infusing the work with drama and passion. Brian Nixon joined the orchestra on percussion, giving the ensemble extra punch during the loud and fast movements.

The Red Tree was a wonderful concert experience: lacklustre visuals in the first half could not dampen the effectiveness of Shostakovich’s music, and the combination of Tan’s breathtaking art and impeccable performances from the ACO and Gondwana Voices in the second half both pleased and excited the Sydney audience.

We invited members of its online community to review The Red Tree. Watch the blog or join our Facebook group for your chance to review a concert.

Adam Szabo, ACO Community Reviewer | 22 Jul 2008

21 Jul 2008

I want to thank the ACO for giving those of us who were sitting in Box E of the SOH yesterday a chance to view the images of Shaun Tan properly. The pre-concert talk given by Ken Healey was very interesting and helped to understand about the first half. A bonus to this pre-concert talk was when Michael Yezerski joined Ken later to discuss about "The Red Tree". I found the first half of the concert was dark, and understandbly so, because the music Shostakovitch wrote was when he was dying. Watching Shaun Tan's images of his family fleeing their homeland as refugees was poignant. The second half was in total contrast. Michael Yezerski's and Richard Tognetti's composition was very exciting to listen to, and the Gondwana Voices gave a terrific performance. Is there any chance of recording this performance for posterity?

Anonymous (blog comment), NSW | 21 Jul 2008

21 Jul 2008

I write to comment on the performance in Melbourne on 14th July. I agree with the assessment of the reviewer in The Age, but I refer particularly to the piece The Red Tree. The work of the Gondwana Voices was most impressive: their preparation, discipline and execution were remarkable.

The text they were singing, however, consisted of unrelieved gloom. Life can be depressing, true, but why rub it in to this extent? "The world is a deaf machine." "Without sense or reason." "Terrible fates are inevitable." and so on and so on. The effect on youngsters aged 10 to 16 is hard to gauge, but it could hardly be positive.

I know, professionally, the powerful effect of combining words with music, and there must be some effect from these gloomy texts.

I am not a Catholic, but I couldn't help thinking of the contrast between this work and the message of hope being simultaneously given in Sydney for World Youth Day.

If I were a secondary teacher I would hesitate to give a work like this to adolescents, some of whom, in all cities and towns, are suffering from depression.

I hope you will pass on these remarks to whoever chose the texts for this performance.

D Wood, VIC | 21 Jul 2008

20 Jul 2008

I experienced The Red Tree performance at the Opera House yesterday afternoon, 20 July.  Congratulations to all who contributed to its creation, from conception to performance.  Please continue your original approach to the orchestra's performances.

R Miller, Sydney | 20 Jul 2008

15 Jul 2008

I absolutely loved The Red Tree and whilst I was skeptical about the Shostakovitch / Arrival synergy I was won over by half way through the piece. That's one of the things I love about the ACO. It has the courage and artistic vision to push boundaries and lead one to new experiences. I was really excited by last night's performance in Melbourne. Fantastic effort by one and all. The choir were so good. Despite the macabre nature of the thmes presented I came away uplifted

Anonymous | 15 Jul 2008

15 Jul 2008

The Red Tree was outstanding and I was blown away by how well the choir the orchestra and images all interacted. It was a huge success and I think would be great to export this piece to overseas audiences.

Initially I was quite apprehensive and distracted seeing the images of The Arrival to the Shostakovich like the reader above. However I found by the end of the work I was converted. Some of the pictures especially with destructive war imagery were quite evocative juxtaposed against the abject darkness of human spirit that Shostakovitch is so able to invoke.

Anonymous | 15 Jul 2008

01 Jul 2008

I found the Audacious concert challenging - one of the reasons I love the ACO is because my rather conservative tastes are challenged. But it was a bit relentless and we felt worn out after wards. The Sibelius was like a warm bath. The contrast between that and the rest of the programme gave us new insight into  that piece - which is why programmes need a bit more contrast than Audacious gave us  The director was magnficent and the orchestra brilliant.

J Wilkinson | 01 Jul 2008

01 Jul 2008

Thank you and congratulations on the Audacious concert. What we appreciate most about ACO concerts is that there is something to learn and something to discover. That means that, sometimes, there is something we don't like so much, but that is part of the adventure of live performance. It would be a great pity if the ACO became predictable and unadventurous.

This concert reminded us why we have been subscribers for 15 years.

K Nielsen | 01 Jul 2008

23 Jun 2008

A group of us who subscribe to the ACO were unanimous is our assessment that the programming for the Audacious concert was rather lacklustre. Most of the works were rather similar - the Sibelius work seemed so out of place on the programme. 

Your programme guide for 2008 stated ...."..our program as a whole must appeal – paraphrasing Mozart – to the connoisseur and also to those who know nothing at all. Therein lies the challenge of balance."

Our view was that the programme had little appeal and was very unbalanced.

G. Burnham | 23 Jun 2008

19 Jun 2008

Thank you to ACO for a wonderful afternoon on Sunday - my friend and I were so pleased we went - I just wish my music students had been able to witness the performing techniques used in the pieces performed.

R Thearle | 19 Jun 2008

13 Jun 2008

As a current Melbourne subscriber I wish to draw your attention to a matter regarding the provision and the cost of prgram notes at Concerts. As you know, subscribers may obtain a discount card to obtain a program, or simply buy a program directly or collect a free flyer for each concert.

Within Musica Viva and the MSO, however, programs are somehow provided to attendees at no charge.

May I ask why this is not the practice at ACO concerts? What consideration are you giving to this matter?

I would simply urge that you do consider this as a matter of good customer practice for 2009.

We're currently investigating our options for how we'll provide programs in the future. We'll let you know of any developments soon.  - ACO Program Editor

M Elliott | 13 Jun 2008

11 Jun 2008

I attended the Audacious concert at the Adelaide Townhall on 10 June. The pre-concert talk was an interesting and informative introduction. Unfortunately, I found the fourth piece very difficult to listen to. I felt I was in the middle of a terrible war zone. Four modern pieces in one concert are completely overwhelming and very difficult to deal with. I have been a subscriber for several years and I am happy to experience modern music but last night was extremely difficult to deal with.

A. Gorroik, SA | 11 Jun 2008

09 Jun 2008

I believe that the ACO is a National Treasure - however, I feel that the Audacious Tour was poorly titled and should have been named Indulgence - Self Indulgence. The repertoire may have been challenging to play but it was even more challenging to listen to. I believe that the audience could have coped with one of these non-musical displays of performance gymnastics but an almost full evening of them was an insult to a loyal audience.
 
I hope that we will not have to endure to many more of these - and thank God for Sibelius was this an attempt to remind the audience to return next time.

G Cooper | 09 Jun 2008

09 Jun 2008

Thank you for the superb concert on Sunday in Melbourne. I have not been to such an exciting first-half in years, possibly ever, and my life is classical music.

J. Grieves-Smith, VIC | 09 Jun 2008

09 Jun 2008

I'd just like to thank you for the opportunity of attending your open rehearsal last Friday.  It was a most enjoyable evening and I think that seeing the rehearsal will give me a much better appreciation of music that I otherwise might not have enjoyed in the concert.  It was good of some orchestra members to stay behind and chat.  The conversation and excellent nibbles and drinks were much appreciated.

L Bryan | 09 Jun 2008

23 Apr 2008

We enjoy the concerts, and also when you are recorded and played on ABC FM. In fact we have just listened to a Perth concert with the Orchestra playing Mozart which was delightful!

Dr G. Greenbaum | 23 Apr 2008

23 Apr 2008

We are Australian expats living in London and attended last night's magnificent concert at Wigmore Hall where we are regular concert goers. The concert was recorded so we hope Wigmore Hall will release it on CD.  It was a full house and the demand for two encores was evidence of how much the audience enjoyed the concert.  The baroque selection was excellent with faultless playing and firstclass tight direction. Mark Padmore sang beautifully. The Roger Smalley piece was played to perfection and evoked happy memories of Australia.  A wonderful performance all round.  All the best for the rest of the tour.

M. Dolan, UK | 23 Apr 2008

23 Apr 2008

Love, Love, Love your performances - there's never an 'off' one from where I sit. Your's are the most superb Australia has on offer - there is no one performing at the ACO's level.  Please condsider reschduling Brisbane's concerts later in the week though - we'vee been stuck with Monday for years now - it's our turn for a Thursday of Friday or Saturday surely :)

R. Kennedy-Perriman, QLD | 23 Apr 2008

23 Apr 2008

I would like to tell you how pleased we are that the ACO is using Anita's Theatre. We have now been to two concerts there and have decided that it is now officially our favourite ACO concert venue.   Katie Noonan is not however one of our favourite guest soloists. I enjoyed her version of the Tavener very much and was consequently looking forward eagerly to the rest of her programme but I grew progressively more despondent as the evening progressed. Her voice is pure, as everyone says, but thin and lacking in lower register. Her mike skills are undeniable but that's certainly not what we come to hear the ACO for. You reminded us of that with the wonderful rendition of the Elgar. Thank you so much for that exciting playing

S. Papi, NSW | 23 Apr 2008

04 Apr 2008

My husband and I are subscribers to a wide array of music and theatre companies. From Richard Tognetti and the ACO we have always expected, and received (up until "Sublime"), concerts of a very high standard from a predominantly "classical" repertoire - 17th century through to the innovative and avant-garde of today.

However, the second half of the "Sublime" concert was very dissatisfying, and disappointing. In our opinion it was outside the parameters of the sum and substance of the ACO. We do not subscribe to the ACO to listen to "pop" music, any more than we attend Writer's Week to discuss Mills and Boon.

J Wilson, SA | 04 Apr 2008

03 Apr 2008

The Katie Noonan concert was one of the best concerts by any group of performers I have ever seen. It was really wonderful and thank you all for a truly divine programme. I read the reviews by the newspapers - so grumpy and ungracious, not to mention parochial. I've lived in London and New York and as I say, that was one of the best combinations of material with musicians ever.

H Wayland, VIC | 03 Apr 2008

26 Mar 2008

Congratulations on a truly wonderful concert on Wednesday evening. I just loved the whole musical experience and Katie Noonan's voice was just something else. Such range and control quite unlike anything else I have heard. I have been a subscriber to ACO concerts for many years now and this concert for me would have to be up there as one of the best. Please Richard, can we have her back again in the not to distant future?

G Tagg, NSW | 26 Mar 2008

25 Mar 2008

I was utterly blown away by Thursday night's ACO Sublime performance featuring Katie Noonan at Anita's Theatre in Thirroul.  The entire audience was spellbound.  How very very fortunate we Illawarra and South Coast subscribers are to have a beautiful venue with fine acoustics for a world class orchestra.  I can hardly wait for the next concert. Please consider releasing  an album of the Sublime concert.

L Raynor, NSW | 25 Mar 2008

25 Mar 2008

I went to the Sublime concert with Katie Noonan last Thursday at Anita's Theatre in Thirroul and loved everything about it. Bravo! I've been to many ACO concerts in Sydney but this was my first at Anita's, a great venue with good acoustics I thought. Very much looking forward to the next one!

P Failes, NSW | 25 Mar 2008

24 Mar 2008

Newcastle concert with Katie Noonan... Sorry, I was generally disappointed with her performance, very hard to hear and couldnt understand a word she said on stage. In fact her stage presence as a seasoned performer was a let down and 'Halleluia' was not the best rendition I have heard.  But, wow: the Elgar Introduction and Allegro... so exciting, vibrant, stimulating.

R Lee, NSW | 24 Mar 2008

19 Mar 2008

Just HAVE to write to say that there should be a more intense word than SUBLIME for the Katie Noonan concert. It was wonderful, exciting, brilliant – just can't think of enough adjectives to describe how good it was.  Congratulations!!!

C Wise, NSW | 19 Mar 2008

18 Mar 2008

Richard Tognetti and the Australian Chamber Orchestra gave quite possibly the best performance of Elgar’s 1905 string masterpiece, the Introduction and Allegro, that I have ever heard live. Spirited, gutsy, guttural even, it was authentically Edwardian, modern and full-blooded in a way that their pretty, evanescent Merchant-Ivory reading of his lovelier Sospiri was not.

It was certainly not “sublime”, however, and the ACO marketeers’ tricksy tag for what was otherwise a cheeky fusion program of English music succeeded (apart perhaps from selling tickets) only in selling the repertoire and the performers short.

With or without her cutesy ingénue image, jazz singer Katie Noonan is a tidy package. High, pure, ethereal, her voice type is now regularly encountered on both sides of the classical-popular divide (in artists like Sarah Leonard in Michael Nyman’s Prospero's Books and Kirsty Hawkshaw on Hybrid’s Blackout). But it is the sheer inventiveness with which she projects her raw material through her other instrument, the microphone, that accounts for at least 50 per cent of Noonan’s distinctive artistry.

No doubt out of respect for tradition, she sang a pathetic Handel aria and Purcell’s Dido’s Lament more or less straight.

Frankly, I’d rather she’d throw caution to the wind and done them with her usual delivery. It was the right decision, on the other hand, for a song from John Tavener’s alas all-too-short pre-Byzantine period, and some disarmingly pornographic Ben Britten (from the Rimbaud cycle Les Illuminations), both nicely sung.

After the interval, we were segued none too gently from Ralph Vaughan William’s Five Variants of Dives and Lazarus into the not-so-different world of English post-Beatles music. Of the half-dozen song settings, the two best were Sting’s A Thousand Years and How To Disappear Completely, the number the notoriously touchy Thom Yorke once said he wanted Radiohead to be remembered by. Both are compelling, original ideas, considerably enhanced by what Noonan and Tognetti (and his strings) did with them, the end results more natural, and in some respects more typical even of the great English tradition than what Vaughan Williams managed with his four-square Dives tune.

Sublime? Not a bit. But if you did want a single label to link the likes of Vaughan Williams with Sting, why not “English chill”?

Graeme Skinner, Sydney Morning Herald | 18 Mar 2008

17 Mar 2008

The Elgar you played at the Sublime tour concert yesterday was so beautiful you didn’t even have to know how difficult the Allegro was! To be able to do this is truly remarkable.

The seamless way Katie Noonan’s voice blended with the orchestra in wonderful imaginative arrangements made for a great concert! Thank you.

R Metcalfe, NSW | 17 Mar 2008

12 Mar 2008

Last night's concert really was sublime. Any chance of releasing the recording on CD?

A Clancy, SA | 12 Mar 2008

12 Mar 2008

My husband and I attended the ACO’s performance on Monday night in Melbourne with Katie Noonan. It was gorgeous. Please, please, please release a live recording, or make it available over the web so we can enjoy it again (right now I’m listening to it via the ABC Classic FM webstream).

F McLeay, VIC | 12 Mar 2008

12 Mar 2008

The concert with Katie Noonan was fantastic. Is there going to be a recording featuring the songs arranged for her with ACO?

The version of Across The Universe was stunning - you must put it on a CD! The Nick Drake song was equally wonderful too.

M Nelson, SA | 12 Mar 2008

11 Mar 2008

Just HAVE to write to say that there should be a more intense word than SUBLIME for the Katy Noonan concert. It was wonderful, exciting, brilliant - just can't think of enough adjectives to describe how good it was. Congratulations!!

C. Wise | 11 Mar 2008

11 Mar 2008

Sublime! Again, the ACO and Richard Tognetti have woven magic with Katie Noonan to create a musical space that sends tingles up your spine. Katie's perfect pitch and the exquisitely balanced accompaniment of Richard's arrangements and the Orchestra make music that is worth an entire subscription in one concert. Across five centuries of composition and styles this is truly the food of Gods. Sublime!

M Denton, VIC | 11 Mar 2008

10 Mar 2008

My husband and I attended the ACO concert in the Brisbane Concert Hall last Monday, having been regular subscribers for at least a decade. We have over that time felt privileged to be present to hear "the best Chamber Orchestra in the world" performing, especially as the ACO has a special gift for playing familiar works with a fresh approach and interpretation as well as introducing their audiences to less well known works. The players of the ACO deserve all the accolades which have followed them worldwide, and it is gratifying to see the full Concert Hall audiences which they attract in Brisbane.

The introduction of Katie Noonan on Monday night was an innovative idea, and attracted a larger than normal audience and extra seating areas were opened to accommodate it. Katey's rendition of the ancient songs of England lived up to the name of the tour (Sublime).The Vaughan Williams and Elgar performances similarly lived up to the "sublime" notion.

However, in the second half when Katie arrived on stage, along with a guitarist plus amplifier, and sang, into a microphone, songs presumably chosen by her, and which had a style more suitable to a nightclub performance than a concert hall, we were surprised, to say the least. To add insult to injury, the orchestral accompaniment was drowned out by the volume of the sounds coming through the acoustic equipment. This performance occupied the entire second half of the programme and when the performance came to its conclusion, the applause in the body of the hall where we were sitting ranged from polite to non-existing.

Certainly, the ACO needs to attract more younger patrons to ensure its future and also to present a variety of programmes, but in the case of this concert, the the second half was occupied by a genre for which there are many other opportunities at venues around our cities for those who wish to hear it.

We are not averse to hearing new works, in fact, we have been inspired and moved by the ACO's performing of new works, especially when Richard introduces them to the audience from time to time in his unique style.

Some innovation is desirable, but the ACO should concentrate on what it does best.

E Barnes, Brisbane | 10 Mar 2008

10 Mar 2008

Sublime! Again, the ACO and Richard Tognetti have woven magic with Katie Noonan to create a musical space that sends tingles up your spine. Katie's perfect pitch and the exquisitely balanced acompanyment of Richard's arrangements and the orchestra make music that is worth an entire subscription in one concert. Across 5 centuries of composition and styles this is truly the food of Gods. Sublime!

M. Denton | 10 Mar 2008

10 Mar 2008

It’s me again! Oh Golly, Gee!
The poet from the ACT!
I‘ll bet you guess that I’ll complain

“Oh no! Ah – here she goes again.”
But Richard, you are wrong. This time
I found the concert quite sublime.

I’m sure that you’ll remember well
Pateras’ concert I found hell!
The difference between that and this

Comes down to one enchanting Miss.
We heard a touch of heaven last night
That Katie Noonan – she’s all right!

You challenge us, there is no doubt
(That’s why, of course, I’m still about.)
You take us from our comfort zone

And in this thought, I’m not alone –
If it’s music, that’s OK
Keep all that other “stuff” away.

I just wanted you to know
I really did enjoy the show.
I’m sure you’ll cop a lot of flack

But don’t you worry . . they’ll come back
To hear you once again enthrall
(Next time, back in Llewellyn Hall!)

PS
Another thing you proved last night –
‘das land ohne musik’ isn’t right!

V Berger, ACT | 10 Mar 2008

07 Mar 2008

I have been a subscriber for many years and always have enjoyed the concerts, even when Richard included something unusual. I saw this as a challenge and accepted it accordingly. However for the first time in my life I walked out of a concert, and wasn't the only one, on March 5th.

The Elgar was magnificent ! Katie Noonan is not ! You have given us vocalists before and they have been good. I am so disappointed in this program. Maybe there was just too many somgs.

H. Crawley | 07 Mar 2008

06 Mar 2008

Wednesday evening's ACO concert in Newcastle had, on paper, hall-marks of a great concert. The concept was fine: a spread of English song over several centuries, up to the very present. We love the ACO. Katie Noonan - although I'd not heard her before - has had considerable media coverage. As it happened the concert was disappointing because of the audience's difficulties in hearing the singer.

In the first part of the concert the voice was lost: it is a not a large voice and was neither clear not audible. In the second part, the singer displayed great artistry and expression and what was probably a fine microphone technique. But again, the sound of the voice seemed to recede, out of audience range. We were left admiring the orchestra, the arrangements, and even the artistry of the singer, but lamenting the lack of clarity in her voice. Even her spoken announcements were barely audible.

I know that all concerned recognise that this is a fragile voice that needs special handling, and I offer this audience feedback in the hope that the problems I describe can in some way be addressed.

Thanks for your feedback, the issues with amplification have been addressed. ACO

R Bannister, NSW | 06 Mar 2008

17 Dec 2007

Every concert we've attended has been a great experience. We have terrific seats and feel as if we 'know' the members of the orchestra because they are so expressive and we can 'see' their interactions. Love the music, love their energy, enthusiasm and power - and love the variety of their repertoire.

Survey Respondent | 17 Dec 2007

04 Dec 2007

Their standard of playing is so very high - the orchestra is so 'tight', they play as a beautifully integrated whole. The string players bows move in such strict unison, amazing to watch. Their interpretations are always full of feeling and enthusiasm - never dull and mecahanistic like other orchestras. The programmes are very interesting; they achieve a good balance between the old and the new.  They are very successful in combining baroque classic together with the latest in contemporary music in a way that seems so natural, the ideas flow, it all makes sense.

Subscriber | 04 Dec 2007

03 Dec 2007

This is the best ensemble in Australia. I am a professional musician who has attended hundreds of concerts in many parts of the world and in many genres, but the ACO is consisitently excellent, surprising and fresh. Their invited soloists are invariably excellent and mostly outside the mainstream, which we would expect with the MSO. The programming is original and interesting. They breathe life and sparkle into works I would not otherwise have expected to enjoy. And Richard Tognetti looks very sexy!

Subscriber | 03 Dec 2007

03 Dec 2007

The choice of music is stimulating, interesting and different. The musicians are fabulous and play beautifully in tune - the musicality of performances is at times breathtaking. It is wonderful to sit at a performance where the players appear to actually enjoy what they are doing.

Survey Respondent | 03 Dec 2007

03 Dec 2007

I enjoy listening to classical music live, and think the performances of the ACO are exciting and dynamic, and add an amazing extra element to the music. I love watching them perform and look forward to each concert. I also enjoy the varied programmes and their choices of musicians and soloists to feature. I am also hoping to improve my knowledge and appreciation of classical music.

Survey Respondent | 03 Dec 2007

03 Dec 2007

Their consummate musicianship, amazing and dynamic playing, innovative concert content, great and sometimes previously unknown (to us) guest artists.  We travelled with the orchestra in 2001 during their extensive tour of Europe and feel very attached to them as people.  We just love being a part of the joy created by the 'best little chamber group in the world'.

Survey Respondent | 03 Dec 2007

22 Nov 2007

I've been carried elsewhere by the music. I've been challenged to understand the music. I've loved watching the musicians actually play the music with style or speed or precision - or more. I've had a great time, smiling and wanting to singalong with the music. Oh yes, in spite of the distance from my home, I actually like the new venue in the Wollongong area. The acoustics are good, and the look of it, art deco/bordello, is great.

Survey Respondent | 22 Nov 2007

21 Nov 2007

Love Richard Tognetti's playing....his sound and interpretations. Adore the vibrancy of the orchestra and the visual 'show'. The ACO has restored my faith in LIVE performance......the first performances for years where I lose myself in the music, time disappears, and not once do I daydream about other things. When I return home my own violin playing is lifted in spiritedness, in aspiration, in my own desire to search for meaning and expressiveness in music.

Survey Respondent | 21 Nov 2007

21 Nov 2007

I love music. I love the way the ACO produces such a marvelous sound and interpretations. My soul is refreshed by seeing and hearing them play.

Survey Respondent | 21 Nov 2007

20 Nov 2007

You have provided me with the highest level of musical serenity that I can find. I experienced my 1st body tingling ACO concert in 1995 & I haven't look back since.

Subscriber | 20 Nov 2007

19 Nov 2007

The ACO is a wonderful group in every way. They not only play well, they look good and they look happy. Richard is so good as leader and (presumably) very good at selecting the programme and guest artists. The variety of programs and artists is fantastic. We are not musicians, but the vitality and competence of the whole ensemble is thrilling. The last concert (in Melbourne) - Hope - was great, even though the progarmmae looked scary. The Karl Hartmann was so moving; and Ptarizia Kopatchinskaja was fantastic.

Subscriber | 19 Nov 2007

19 Nov 2007

I really enjoy the concerts. The eclectic mix of performances. By subscribing, I am committed to each performance. I always buy  tickets with the intention of introducing others to live classical music. So far 6 people I have done this with have subsequently taken their own subscription.

Subscriber | 19 Nov 2007

18 Nov 2007

I have been a subscriber for 11 years. ACO concerts are the highlight of my year. I have enjoyed every concert I have ever attended. I cannot put into words how much pleasure I gain from listening and watching this orchestra

Subscriber | 18 Nov 2007

18 Nov 2007

The ACO provides the highest quality of playing I have heard since I lived in the US and regularly attended the concerts of the Chicago Symphony Orchestra.  At each concert I have a sense that the musicians are emotionally and intellectually involved with the music and committed to communicating this with the audience.  Richard Tognetti's playing and conducting continue to astound my husband and me.  He is just wonderful!  We also enjoy having our musical boundaries extended each year with at least one concert that is definitely different in content and presentation.  We don't always like all the music we hear at concerts.  However we always know that it is being played at the highest level of expertise. Our trips home are full of exclamations and revisionings of the concerts.  We are also most appreciative of the pre-concert lectures by Ken Healey.  They are filled with information and wit and always help us to understand the music better.

Subscriber | 18 Nov 2007

18 Nov 2007

Being a subscriber forces me to break the routine of work and home life and to get out and hear some fantastic music! It also helps me prioritise my other spending on concerts throughout the year, as I enjoy a very broad range of music and there are so many events to attend throughout the year and I would hate to miss out on the ACO!

Survey Respondent | 18 Nov 2007

15 Nov 2007

I can always rely on the ACO to capture my full attention as the programs are provocative and give me music for pleasure and intellectual stimulation.The musicians are all excellent. The creative genius of Richard Tognetti brings music of all composers and styles in refreshing arrangements. I enjoy the pre-concert talks which previews the program, flagging highlights.

Survey Respondent | 15 Nov 2007

15 Nov 2007

I love the variety of music, and the collaboration with other artists, including visual artists. ACO concerts are never predictable. ACO concerts always deliver energetic, often inspired playing by thoroughly commited performers.  Whatever the menu, my concert 'mate' and I find plenty to discuss after the concert. We don't get the same 'buzz' from the bigger classical performing 'outfits'.

Survey Respondent | 15 Nov 2007

11 Nov 2007

The ACO play beautifully, really give their all, no slacking with the attitude of some orchestral musicians of 'here we go again!' They appear to enjoy the music as much as I do. The way the orchestra has rehearsed makes all aspects of the music e.g. 1st subject or 2nd theme, absolutely clear and even if you don't know the piece it is easy to follow it's structure.  You've already done the analysis for us - it's not just a shoddy play through.

Subscriber | 11 Nov 2007

11 Nov 2007

I'm an ACO groupie.  I enjoy their music, particularly their innovative approach and their wonderfully eclectic group of visiting artists - though the one with Joseph Tawadros (also a bit of a Tawadros groupie) had to be one of the best concerts I have ever been to - gosh my son and I wished it would never end. I have over many years seen lots of performers of all sorts, though perhaps more classical, and the ACO's brand of youth, energy and expertise combine to make them always a treat to watch and hear. Yep that's it - people like to watch them - their clear love of performing and music floats through an auditorium and you as a seated guest start to feel part of their performance - you leave the theatre thinking oh gosh that was so much fun , I have to do it again.

Survey Respondent | 11 Nov 2007

11 Nov 2007

The quality of the concerts, the excitement that they generate (there's even a different 'buzz' in the foyer before ACO concerts!), the energy of the orchestra, the interesting and varied programs. If I had to give up all but one subscription, this is the one I would never surrender!

Survey Respondent | 11 Nov 2007

08 Nov 2007

Being a subscriber forces me to break the routine of work and home life and to get out and hear some fantastic music! It also helps me prioritise my other spending on concerts throughout the year, as I enjoy a very broad range of music and there are so many events to attend throughout the year and I would hate to miss out on the ACO! As someone who has worked as a professional musician, I like to actively support live music and having a commitment to a group such as the ACO is a positive way of contributing to the cultural livelihood of our city and nation.

Survey Respondent | 08 Nov 2007

02 Jul 2007

"Hope" springs eternal with the wonderful Moldovian "gypsy" Patricia K. She obviously has been infused with music from the top of her head to the soles of her bare feet! An exciting concert with the contrast from Hartmann's lament to the joy of Rossini and Vivaldi. Congrats again to the ACO on stretching the boundaries with the very much "out there" Patricia K.

J . O'Brien | 02 Jul 2007

14 Jun 2007

Thanks again for a wonderful concert in Perth last night. Richard playing Paganini is just heavenly, or shall I say devilish. The folk items vere pretty groovy. Keep up the good work of always giving us the unexpected.

C. Watkin | 14 Jun 2007

14 Jun 2007

Hooray! Paganini! I pine for Richard playing Paganini - not just the wild bravura Paganini by the also the slower sweet high notes. Would love to have more.

G. White | 14 Jun 2007

12 Jun 2007

We loved last night at Hamer Hall! I've grown up with popular music, and (sorry to mix metaphors), it's about time people stopped pigeon-holing music into convenient little fenced-off paddocks. The mix worked well, with sonority and emotion being the common denominators. Also...to paraphrase Jack Nicholson, you make me want to be a better musician.

C. Douglas | 12 Jun 2007

11 Jun 2007

Attended ACO concert in Newcastle on 07/06. This concert reaffirmed why I take the time to be a subscriber. Enchanting, exciting, brilliant mix of classic and traditional, with an interesting allusion to the folk tune roots of some Classical music. LOVED IT.

R. Lee | 11 Jun 2007

05 Jun 2007

I thoroughly enjoyed your last matinee concert in Sydney with Danny Spooner and Mike Kerin, which was also cleverly interspersed with their folk songs and music. Just goes to show that music is universal and transcends all boundaries!

C. Brommann | 05 Jun 2007

05 Jun 2007

The folk 'collaboration' just didn't work for me. The mixing of genres (classical and folk) and attemept at some synthesis merely highlighted how incongruent they are. As well I felt a little short changed given that only six of the ensemble were present. The prgram felt unbalanced and the singing and fiddling irritated me rather than seducing. If I want folk music I'll go to a different venue with different intent.

K. Walker | 05 Jun 2007

04 Jun 2007

Terrific mix of music - we thoroughly enjoyed it

B. Heywood | 04 Jun 2007

04 Jun 2007

Fantastic! More Paganini please, please!

M. McConville | 04 Jun 2007

03 Jun 2007

Thank you for last night's concert in Adelaide of "The Players". A beautifully balanced programme played by a superb team of musicians and soloists. Well done and we are very proud of you. 

D . Best | 03 Jun 2007

27 Mar 2007

"With my daughter I attended the Radiant concert at the Opera House. Thank you by the way to alerting us to the street closures that afternoon.

We are enormous fans of ACO and with my 25yr old I have special afternoons with her on 7 "dates" throughout the year. The artistry of the orchestra as always was outstanding and the Finnish pianist was marvellous.

However for once I felt that the concert was very dour and heavy. Very little light and shade and I felt that a comment like "Please lighten up" was appropriate.

At the same time we enjoyed the concert and look forward to future Sundays at the OP. "

J . O'Brien | 27 Mar 2007

22 Mar 2007

"Your concert in Perth last night was absolutely brilliant. I am still on a high from it this morning. Thanks for making the long trip to Perth! "

C . Watkin | 22 Mar 2007

20 Mar 2007

"My wife and I have been subscribers for some years now, and we were rather apprehensive about last Saturday's move to the Canberra Theatre.

We were delighted: the acoustic was so much better than Llewellen Hall. The sound was more robust, with splendid clarity - we could hear the various sections interacting with one another and enjoy the nuanced playing. We hope it takes a long time to refit Llewellyn.

The audience amenities are Better, too."

G . Colson | 20 Mar 2007

14 Feb 2007

"It was an outstanding performance. I absolutely loved it."

S . Marchinovskaya | 14 Feb 2007

12 Feb 2007

"Thank-you for another wonderful concert last Thursday. What a great start to the New Year. We look forward very much to the remainder of the Season."

B . Lyle | 12 Feb 2007

11 Feb 2007

"What a start to the season!All the publicity concerning the new fiddle really got the public out this afternoon in Melbourne.'Eroica' was just electric!It is always lovely to have the orchestra bolsted by first-class winds. Some outstanding solo work from Emma Sholl and Catherine McKorkill. The added punch was provided by the brass and Leanne Sullivan.The 3rd movement of the concerto was just edge-of-your-seat stuff. The work by brittish composer Mark-Anthony Turnage was simply spell-binding.Let me just say how thrilled I was to see the foyer of the Hamer Hall over-flowing and that I didn't mind the wait in the slightest!"

N . Dinopoulos | 11 Feb 2007

09 Feb 2007

"The ACO concert I attended in Newcastle last night (8 Feb 07) was just breathtaking. Without doubt, the best I have ever heard Beethoven's Violin concerto and by the reaction of the audience I was not at all alone in thinking this. The skill of the ACO is matched only by its enthusiasm - just a joy to watch as well as listen to. Thank you all for a really wonderful evening."

M . Bore | 09 Feb 2007

09 Feb 2007

"Concert at Newcastle was sublime. Richard's performance was brilliant with the Ten Million Dollar violin. It was a most memorable performance by all muscians. Thank you for the privilege."

P . Unicomb | 09 Feb 2007

07 Dec 2006

The Barber String Quartet Op.11 transposed for orchestra was perhaps the most beautiful concert performance I have ever attended. Does this version of the piece exist on CD, and/or will the ACO be performing it again?

T . Horrocks | 07 Dec 2006

21 Nov 2006

Please make a DVD of your performance of Beethoven's 5th. We are subscribers who missed the concert, but our sons had a wonderful evening at the Melbourne performance and we were overjoyed to realise that we could see and hear the performance via video streaming. However we'd love to see and hear it again and would certainly buy the DVD if you produced it. Thanks for another wonderful year of music.

L . Howden | 21 Nov 2006

16 Nov 2006

'The Revellers' concert in Perth last night was one of the most brilliant and enjoyable concerts I have ever attended. As a pianist and would be violinist, I was impressed with the sheer brilliance and sensitivity of the entire performance! Looking forward to hearing you again!

I . Douglas | 16 Nov 2006

13 Nov 2006

I CAN'T THANK YOU ENOUGH FOR A WONDERFUL CONCERT YESTERDAY AT HAMER HALL. I WISH IT COULD HAVE GONE ON FOREVER BUT THAT WOULD BE GREEDY. THE WHOLE YEAR HAS BEEN JUST WONDERFUL AND YOU HAVE BEEN SO BUSY WITH YOUR TRIPS OVERSEAS. I CAN HARDLY WAIT TILL NEXT YEAR. HAVE A GOOD REST AND I WISH ALL OF YOU A VERY HAPPY CHRISTMAS AND THE VERY BEST FOR 2007. WE ARE VERY FORTUNATE TO HAVE YOU HERE IN AUSTRALIA.

M . NEAL | 13 Nov 2006

05 Nov 2006

Please, can The Giants be issued on a DVD. A truly great concert, and thanks for the online video.

B . Heywood | 05 Nov 2006

04 Nov 2006

Wonderful concert tonight - especially the encores! Thank you. Such a shame more young people don't attend - perhaps we should all give someone young tickets for Christmas?

J . King | 04 Nov 2006

04 Nov 2006

Dear Richard and Orchestra, thank you for the 'gift' tonight. I have been waiting to hear the ACO play something from "Master and Commander" for years now. It was wonderful (as was the season)!!! 

L . Menschik-Spiegel | 04 Nov 2006

04 Nov 2006

Revellers was great!!!! Would like to hear the Smalley again - I'll be trying to track it down. This was the best program of 2006. Also , what were the encores?

R . Fried | 04 Nov 2006

04 Nov 2006

I was at Newcastle concert last thursday...what a treat, what an honour... a world premiere...an australian debut performance..and the Mendelsohn was superb. I have been a regular for several years, and now intend to remain a subscriber for many years. Wonderful to see the mix of experience and the inclusion of the young emerging artists. I particularly enjoyed the encores, specially the terrific Max

R . LEE | 04 Nov 2006

22 Oct 2006

The Beethoven 5th online was terrific. How about the Mozart Mass next? 

R . Taylor | 22 Oct 2006

20 Oct 2006

Thank you for the video of the Beethoven Fifth - it was one of the truely memorable concerts I have ever attended in my long life. Is it available as a DVD so that I can send to my friends in Europe? 

T . Fallon | 20 Oct 2006

19 Oct 2006

Enormous thanks for the video streaming of the September concert. What a gem! 

P . Simms-Reeve | 19 Oct 2006

15 Oct 2006

Yet again the ACO takes its audience on a wonderful musical journey. Last night's performance of Mozart's Mass in C at Angel Place was no exception-magnificent and energetic. 2006 has been a grand year-I couldn't name a night where I haven't come away thinking "this was the best so far". Can I add to the other comments-please consider recording the Mass in C! It would be wonderful to have such a stand-out Australian performance in this important anniversary year.

A . Richmond | 15 Oct 2006

15 Oct 2006

Oh, ACO - where was the music today (Sunday at the SOH). Where were the contrasts - where the balance? We had an 'assault of sound' the music got lost - no subtleties, no interplay of parts, the Voices were overpowered by the orchestra - just a blast of sound. Sorry, I am a devotee from Day 1 and write many accolades, but please note this - several met on the way out felt similarly. Great disappointment. such aggression in the performance. No chance to experience the heights. Sorry! Please may next time be different and back to all the joy you usually provide.

S . Gleeson | 15 Oct 2006

09 Oct 2006

Please, please please record Mozart's Mass in C. I heard it for the first time on Saturday in Melbourne and was transported!

S . Crozier | 09 Oct 2006

20 Sep 2006

Congratulations to Richard Tognetti and the ACO for an outstanding and unforgettable perormance at Hamer Hall, Melbourne on September 18. It was a concert of the highest calibre with the standout for me being the performance of Beethoven's Fifth Symphony. The energy, excitement and excellence of the Orchestra's performance was for me an unforgettable experience which carried the audiemce with it as evidenced by the prolonged and spontaneous standing ovation. Although the symphony is well known to me, I felt as though I was hearing it for the first time. I hope that the ACO will issue it on CD to enable us to relive that marvellous experience.

K . Phillips | 20 Sep 2006

20 Sep 2006

18 September concert in Melbourne was brilliant. Particularly I found Les Adieux very evocative. The Beethoven 5 came across as if it were a world premiere, not a work that's been heard thousands of time before. It was simply sensational! Congratulations to all.

M . Schapper | 20 Sep 2006

19 Sep 2006

Before going to bed I had to write to let you know that tonight's concert (19 Sept in Adelaide) was absolutely wonderful, the highlight being your exhilarating performance of Beethoven's 5th. Wow! Thank you ACO.

D . Best | 19 Sep 2006

18 Sep 2006

Like most subscribers who attended the ACO performance in Canberra on 16 September, I was blown away by the energy, originality and precision of the performance of Beethoven's Symphony #5. I hope you are going to record this with Sony for the future enjoyment of subscribers and others not fortunate to hear this superb rendition. Please confirm that it will be recorded and relased commercially.

D . Sturkey | 18 Sep 2006

18 Sep 2006

Like so many I attended the Giants concert at the Hamer Hall on Sunday with more than a touch of ennui - another re-run of Beethoven's 5th. I was completely wrong, the entire programme was electrifying. Demenga a big man and a great presence on stage - and a comprehensible composer to boot. The Beethoven was simply so new, fresh and exhilarating that I heard it for the first time. I hope it has been recorded, I will be in line to buy it when released. Last but not least the sheer joy and fun between the players and their interaction at the end was a delight. And the little piccolo player ignored for two movements, sitting bereft at the back, made a joyous contribution to the final movement. Glorious, all glorious.

I . McPhail | 18 Sep 2006

18 Sep 2006

I was at yesterday's concert 17/9/06. I was moved to tears by the perfomance of Beethoven's 5th it is a work that I have heard many times before but never live it was brilliant...you should all be very pleased with yourselves. Thank you again.

M . NEAL | 18 Sep 2006

17 Sep 2006

Last night's concert in Canberra was the most sensational musical experience with the Beethoven the highlight for me. We all know the ACO is the best in the world and last night proved it. Thank you all for the joy you bring to your many admirers. Richard you are a genius and your passion and energy are awe inspiring. Wonderful! 

B . Hicks | 17 Sep 2006

15 Sep 2006

I hope that the orchestra has recorded the electrifying performance of the Beethoven 5th symphony. It seemed like a new work. When will it be available?

C . Pain | 15 Sep 2006

14 Sep 2006

My husband and I attended the giants concert last night at the City Recital Hall. It was a wonderful, wonderful concert. I have never heard such an exciting performance of Beethoven's 5th Symphony. The clarity of each part, the beautiful phrasing and the passion and joy of the performers was fantastic. I'm still on cloud nine!

G . Murray | 14 Sep 2006

13 Sep 2006

I have just read Murray Black's review of the concert which we attended on Saturday night in the City Recital Hall and he wrote what I wanted to write! The Beethoven performance was indeed electrifying and I was so charged by the exhilarating interpretation that I stayed wide awake until the early hours! I had a real sense of what that first performance in Vienna must have been like. The clarity of each section was wonderful, and we really appreciated the seats we were given in exchange for our usual Sunday afternoon seats. Thank you ACO and thank you Richard for giving us a memorable B5.

r . gonczi | 13 Sep 2006

13 Sep 2006

When I went to the Giants concert I thought, it looks very interesting and oh yes they have trotted out Beethoven's 5th (yawn). To paraphrase some composer's comment (can't remember the name): "I think I did hear Beethoven's 5th for the first time on Monday night!". The whole program was great, but the sheer energy and joyousness had me and I think most of the audience absolutely riveted. I heard new things, like challenges thrown down, celebrations of life, and even some sly humour (found myself almost laughing at some point). You bathed us in the music. Great stuff ACO, superlatives don't quite work this time.

S . Brkich | 13 Sep 2006

23 Jul 2006

ACO concert in Canberra on 8 July 2006 was outstanding in all aspects of the performance.

M . Stack | 23 Jul 2006

15 Jul 2006

I really enjoy all of your concerts but found the concert with Joseph Tawadros to be exceptional. It's fantastic that we have such an ensemble as yours seeking out such "hidden vurtuosi" and collaborating to make such beautiful music. Bringing the art of improvisation back into "classical" music is a noble endeavour and one which seems to be the ACO's mission. Good on you. Crossing the cultural barriers also seems to be one of the ACO's specialties. How lucky we are to have such cutting-edge, knowledgeable musicians who can take us forward into new and exciting territories. Thank you! I am thoroughly enjoying my first year as a subscriber and look forward to many more years subscribing to your wonderful music.

A . Hanna | 15 Jul 2006

15 Jul 2006

The Beethoven String Quartet Opus 131 performed by Anthony Marwood was a most moving performance for me. The total concert on the 11. July at the Adelaide Townhall was a very beautiful experience. Does a CD of this concert exist? In particular the the Beethoven Quartet Op. 131?

A . Mulliner | 15 Jul 2006

11 Jul 2006

Yesterday evening's performance in Hamer Hall, of the Romantics tour was simply stunning. A strong concerto performance from Anthony Marwood in the Mendelssohn, with skillful and convincing direction from Helena Rathbone.The Adagio of the Barber String Quartet moved me to tears, as it typically tends to do, but this performance was just sublime. An energetic Beethoven Quartet rounded off a wonderful night.

N . Dinopoulos | 11 Jul 2006

14 May 2006

I was lucky enough to be at The Travellers concert last night. Considering the challenges that are facing Australian society following the debacle of Cronulla, I was enraptured by the celebration of Australian cultural diversity that the concert represented. Music can make important political statements. This should be heard all over Australia. Bring on the CD of the concert! 

S . Crozier | 14 May 2006

19 Mar 2006

We attended the concert in Melbourne with the Tawadros brothers. Tognetti is close to reaching genius status he play in any genre, however this afternoon was electrifying. When do we get the DVD or CD with ACO and Tawadros, can hardly wait. 

H . Ferguson | 19 Mar 2006

16 Mar 2006

Words cannot describe how much I enjoyed "The Players" concert on the 11/3 in Sydney. What a concert to reveal the richness of the company. The rapport between each player was amazing to watch... it really shows how all of you work as a team. On the other hand, what a joy to witness two great soloists' performances from Emma and Helena. Well done both of you! Thank you for sharing your passion and love of music in your performance. The music you played can allow you to play with your best. Thank you Richard for giving us an opportunity to witness how great the musicians are we have in Australia. Hope that we can see more in the future. 

M . Chang | 16 Mar 2006

16 Mar 2006

I just wanted to tell you how much I have enjoyed the concerts this year. The last one with guest Teddy Tahu Rhodes was wonderful. What a talent. You have had a very busy year & we still have lots more to come. I congratulate you all. I feel priveleged to be able to attend your concerts. Thank you.

M . NEAL | 16 Mar 2006

12 Mar 2006

I went to "The Players" concert in Canberra and as a violin student was absolutely blown away by Helena Rathbone's sound in the Meale. Just amazing. It is a pity we don't get to hear her as a soloist more often as she is an exceptionally classy player. 

J . Chenoweth | 12 Mar 2006

10 Mar 2006

What an array of talented musicians we are fortunate to have in ACO... Truly a group of soloists, who obviously enjoy each others talents... The rapport between the players during the concert in Newcastle last night was just wonderful to witness... Congratulations Emma on your solo. What a beautiful young lady with boundless talent... Haven't missed a concert in 3 years and this was one of the best. 

R . Lee | 10 Mar 2006

09 Mar 2006

I hope this feedback gets to Richard Tognetti. I attended the Visionaries concert in Melbourne as a long-time supporter and subscriber of the ACO. The concert was deeply defining and inspiring on so many levels. I was raised on JS Bach and Handel (my mother an organist) and the Messiah, mandatory at least annually. If I never hear another concert, Monday night transcended anything I have experienced befor on a musical level. It was the first concert I had been to for some time as I have just had a lung and various other bits removed, with a fairly poor prognosis. For me, music lifts me to a greater height and hopefully, positive healing. Monday night was IT for me and I wanted to deeply and sincerely thank the ACO and Teddy Tahu Rhodes for such moving joy. The Hindemith was sublime also.

T . Sheldrake | 09 Mar 2006

07 Mar 2006

Beg you to release the concert with Joseph Tawadros on CD. Absolutely inspirational. 

G . Horne | 07 Mar 2006

05 Mar 2006

I have just attended "The Players" concert in Canberra of the performance of Meale's Cantilena Pacifica by Helena Rathbone. I have just one word "exquisite" - a treasure in a night of highlights. 

J . Haynes | 05 Mar 2006

22 Feb 2006

I heard it on ABC FM, I heard it live at Angel place. Now I would very much like to hear again that fabulous 2006 opening concert at my leisure from a CD. 

R . Henman | 22 Feb 2006

21 Feb 2006

Dear ACO, Last night was the first ACO concert I've attended for over a year, and I must say that I wasn't too sure whether I'd like it. But, wow! That was phenomenal. Not only was the musicianship superb (ACO always is), but the orchestration to accompany the oud was just sublime. Having bought Joseph's & James's CD after the concert I can say that the oud is a pleasant instrument. However, when accompanied by an orchestra that tied together an eclectic mix of music in such a beautifully crafted way it lifted the oud to another level. You absolutely must record this music. Well done, ACO!

B . McKenna | 21 Feb 2006

20 Feb 2006

What a wonderful concert last Saturday night to begin the 2006 season! It was adventurous to blend the traditional middle eastern sound with the traditional chamber orchestra and it worked so well. I don't think I have ever seen the musicians enjoy themselves so much. It was the icing on the cake to hear from Barbara Blackman - could you possibly provide a copy of her speech on your web site? It was a special moment. Thanks for a great evening and we look forward to the rest of 2006, we estimate our 12th year of subscribing.

R . Watson | 20 Feb 2006

13 Feb 2006

I had the good fortune to be at the concert in Canberra on Saturday. It was one of my most enjoyable musical experiences - and judging by the audience reaction - most others shared my view! The interaction between Richard and his violin, and Joseph and his oud was a joy to hear - and the rapport between guest artists and the orchestra somehow seemed to extend to including us in the Hall as well. Thank you for a great concert. Was the concert by any chance recorded? If so - when will the CD be available - I definitely want one! 

C . Tancred | 13 Feb 2006

13 Feb 2006

I was at the Concert at Hamer Hall on 12 February. What a wonderful time we all had. It was marvellous. Joseph & James Tawadros are wonderful musicians. There was such a buzz from the audience on the way out. What a wonderful start to the New Year. Thank you very much. 

M . Neal | 13 Feb 2006