ACO at 50: How did your ACO story begin?

The ACO’s newest recruit, Anna also hails from Richard Tognetti’s hometown of Wollongong. She took part in the ACO’s Emerging Artist Program, and next week will take to the stage as a soloist with the Orchestra for the first time.

When did you first hear the ACO play? 

Growing up in Wollongong, I often had to travel to Sydney in order to hear a wider range of musical performances. The ACO is one of very few orchestras who include Wollongong in some of their tours, so lucky little me heard them for the first time at Wollongong Town Hall. It was like going to see your favourite band! I remember being exhilarated by every performance.

It’s difficult not to mention as a favourite moment the night I passed my probation and became a fully-fledged member of the Orchestra. We had just played a high-octane concert of Bach, Gubaidulina and Shostakovich in Stuttgart when I had my assessment. Walking to a restaurant after the assessment, where I'd meet the Orchestra for their decision, I realised I wasn’t emotionally prepared to fail, no matter how much I’d intellectualised the idea.

Despite having an active and fulfilling musical life outside the ACO, I had by that point fallen in love with the Orchestra and wanted to be a part of this unique and incredible family. So, it was very intense, and I teared up when my colleagues arrived at the restaurant and told me the news. I was especially emotional when hugging Hellie [ACO Principal Violin Helena Rathbone], since she inspired me so much in my Emerging Artist year and was the first person to urge me to go for the job. 

What one or two words would you use to describe the ACO?

Flowing and audacious.

Subscribers since our very first season in 1975, Robert and Margaret have also been donors for over 20 years and are currently part of our ACO GOLD circle supporting our 50th anniversary.

What’s your favourite memory from attending ACO concerts?

If we had to pick one concert out of the many we have enjoyed over the years, I think we would have to give the prize to the performance of Beethoven’s Seventh Symphony in around 2006. Until then, our benchmark for a performance of this symphony had been Furtwängler conducting the London Philharmonic at the Royal Festival Hall in 1965.

We had come to think of that symphony as massive and ‘monumental’ – relentless, inexorable in its movement towards its end, building slowly but surely to its inevitable and solemn conclusion. The ACO performance turned that on its head and gave us a different way of looking at this great work.

It had a fast tempo, and there was joy, playfulness, humour and delight as well as ferocity: there is more than one way for a piece of music to move you and make you feel that life is worth living.

What keeps you coming back to ACO concerts after 50 years?

What always stands out when watching this great orchestra is the sense of community among the players, a community into which visiting soloists are actively invited and which they, in return, clearly value and enjoy.

The rapport between players make this orchestra unique in our experience. We always look forward to our ACO concerts and know that what we must expect is the unexpected. We hope to go on doing so for many more years to come.

Current Emerging Artist on violin, being mentored by Liisa Pallandi.

What attracted you to apply for the ACO Emerging Artist Program?

I’ve always admired the program because every musician I’ve seen come out of it has gone on to achieve incredible things. For me, it’s more than just an opportunity to grow as a musician – it’s a chance to be part of an Australian music community that pushes you to reach your full potential.

The idea of being mentored by such talented musicians and performing at that level excites me beyond words. I’ve always believed in learning by experience, and being on tour with the ACO members is exactly what I need before starting my professional career.

What’s your favourite ACO memory?

During my time at the Australian National Academy of Music (ANAM), I was incredibly lucky to be part of the 2023 Mozart tour. It was such an amazing experience that I wanted to be part of it again! Working with the entire orchestra and international guest artists was so inspiring, and I still find myself thinking about those performances and how much joy we brought to the audiences.

Prue has been an ACO subscriber and donor for over 20 years, and is currently part of our ACO GOLD circle supporting our 50th anniversary. Prue learned the violin from a young age, and studied for four years under Robert Pikler who himself played a key role in the ACO’s founding years.

How did your ACO story begin?

I have been a community lawyer for decades. During my late teens my passion for the law equalled my passion for music. I played the piano and the violin during my childhood, and when I was a teenager was fortunate enough to take lessons at Sydney Conservatoire. I was so very privileged to then spend four years learning from Robert Pikler. Even though I ultimately made lawyer my profession, Mr Pikler gave me an awareness of and access to musical life in the city, including the ACO.

My husband died after a long illness in 2012. My two children, worried that with the enormity of my loss I would retreat into my shell, gave me, two tickets for the ACO’s 2013 season for my birthday that year. With two tickets they wanted to ensure I would always take a friend with me to the concerts – which I did. I have been a subscriber since then.

What role does music play in your life?

What has enabled me to do my work as a community lawyer has been my passion for music, both listening and playing. The only way I have found I can take my brain down pathways not beset with trauma and sadness, is to either play the piano or violin or go to a concert.

I've also realised not everyone has had access to my rich and privileged musical education and experience. Over the years, it has become apparent that the majority of my clients impacted by trauma have struggled to find the pathway that leads to healing and recovery.

What the ACO has done and continues to do in St Marys North Public School and now in the school in Melbourne is life-changing for those children and indeed for their families. By fostering a love for making and listening to music you are enabling children to develop the skills to live with and manage the skills required to live a full life. This is quite apart from the simple joy of music!

Why do you support the ACO and keep coming back to concerts?

What I love about the ACO is that it feels like a family that I am part of.

I love the challenge of listening to new work together with the comfort of listening to favourites. To hear the violin concertos, especially the Max Bruch or JS Bach violin concertos, takes me straight back to my Tuesday evenings at Sydney Conservatoire, listening to Mr Pikler as he played while I unpacked my violin.

Keeping the balance of new and comfort in terms of pieces the ACO plays is important – keep challenging us!

Now in high school, Lachlan was part of the original “Gumnut” cohort of our pioneering music education program, ACO Foundations, in Western Sydney. Lachlan loves the violin so much that he has continued his studies beyond the program, and is now receiving tuition through Penrith Conservatorium, thanks to philanthropic support from ACO donors.

 

How did it feel to perform with Richard Tognetti and the Orchestra at ACO On The Pier? 

I felt amazing! It was so much fun playing with the ACO and all my friends. It was also so cool that I was able to learn and play with Richard Tognetti. I love that I was able to be in the presence with someone so skilled and with so much talent. I remember telling Richard that he was nearly as good as us! 

What do you love about playing the violin?

I love that feeling when you get so into the music, and playing it, that you feel like you are in a different world. I love that after putting all the work into learning the whole piece of music, it comes together like a puzzle. 

What does the ACO mean to you? 

The ACO for me means so much as they introduced me to music and the violin. They taught me how to play and read music, and the right movements for the violin.

Mostly I love how they believed in me from the very start, and they pushed me to become better. I love seeing all the people in the ACO playing with me, it’s exhilarating. 

Former Emerging Artist and regular performer with the ACO, Beth has been an integral part of the ACO Foundations program at St Marys North Public School in Western Sydney since its inception.

What do you enjoy most about being an ACO Foundations tutor?

I love working closely with the students and watching them grow – not just as musicians, but as people too. It’s incredibly rewarding to observe their confidence and enthusiasm grow, and their personalities shine through their music making.

Can you share a favourite memory from your many years working at St Marys North?

One that really stands out is the first time we took the students to ACO On The Pier. They were absolutely buzzing with excitement. For many of them, it was their first time on a bus into the city (and honestly, the bus ride alone was a highlight!), and they’d never seen the Sydney Opera House or Harbour Bridge before. Being there with them for that moment was unforgettable.

Another special memory is our very first concert at the school with Years 1, 2, 3, and the Superstrings group all taking part. Watching the students perform in front of their parents and friends for the first time was incredibly moving, it meant so much to the parents and school community. You could really feel how proud everyone was.

What’s something you’ve learned from being involved in the program?

I’ve learned that for a program like ACO Foundations to really thrive, it needs the full support of the whole school community. While I feel so supported by my Foundations colleagues, it’s also been amazing to work with someone like Lisa Parrello (the principal of the school). Her leadership and willingness to embrace something new has been key to the success of the program.

 Creating fun and engaging video content with my colleague cellist Anton Baba has also been a totally new (and hilarious) challenge. The program has helped me grow in so many ways, both professionally and personally. I am very grateful to be a part of it.

Head of Major Gifts & Bequests, Lillian is the longest-serving member of the ACO’s administration team. Lillian has also been an ACO subscriber and donor for over 20 years, and is currently part of ACO GOLD donor circle for our 50th Anniversary.

How did your ACO story begin?

I started working at the ACO in October 2007, having left the law in 2000 when my fourth child was born.  I was an ACO subscriber (still am – my 20th year this year as a subscriber) so I was familiar with the Orchestra as a fan and a patron.  I had a musical background, having attended the Conservatorium High School and taught the piano while studying at university. 

I saw the ad for the role of Patrons Manager by accident and as I was contemplating a return to work of some sort at that time (I had ruled out a return to the law for family reasons), I thought that would be rather nice. I left for a brief time in 2014 and 2015 (again for family reasons) and returned in 2016 to work on the Capital Campaign. And, the rest is history…

What’s your favourite ACO memory?

There are many wonderful memories.  Apart from the excitement of moving into ACO On The Pier at Pier 2/3 in Sydney, after many years working underground and working on the campaign for our new home, some of my favourite experiences were speaking to all of the subscribers and patrons who donated their tickets back to us or who made donations during the Covid lockdowns. And hearing how much music, and the ACO in particular, meant to them and their lives. It was truly heartwarming.

Tell us about a standout ACO performance.

This is a hard one – there have been so many wonderful and memorable performances!

I think that one standout for me was the first time I heard the ACO perform a Beethoven symphony – it was Beethoven’s 5th.  It was so exciting and so dynamic. I can honestly say that no one plays Beethoven like the ACO! Being a small orchestra, you can hear every part so clearly and the way the ACO performs Beethoven is breathtaking. It’s wonderful.

Why do you support the ACO?

I think it’s important to support the arts – it’s important for society to have a vibrant cultural life and the arts enrich our lives and the fabric of society beyond measure.  I support the ACO because of its excellence, and also because of its belief in the importance of a music education for all and its contribution to and advocacy for the benefits of a music education.

In one or two words, how would you describe the ACO?

Only one or two?! Excellence and dynamism.