50 Bold and Extravagant Years: The Australian Chamber Orchestra

More than a quarter of a century ago, a young violinist known for his prodigious talent and charisma walked into the executive offices of the Commonwealth Bank of Australia in Martin Place. Playing the opening bars of Paganini on a borrowed violin, Richard Tognetti asked then-CEO David Murray, “Will you buy this for me?” The 1759 Giovanni Battista Guadagnini violin came with a $1.2 million price tag, but Murray said yes.

Today, the Australian Chamber Orchestra (ACO) manages nine of the world’s most valuable string instruments, not hidden away in museum displays but played on stages across Australia and the globe. The prized possession among them is a circa 1580 Gasparo da Salò bass, played by double bassist Maxime Bibeau. Discovered intact in a bombed-out monastery in Northern Italy after World War II, the instrument’s wood dates back to the late 1400s.

“It’s incredible to think of the world events these instruments have witnessed,” says ACO Managing Director Richard Evans. “The survival stories they must have.”

Tognetti’s initial Guadagnini violin has since been passed to ensemble member Liisa Pallandi. Nowadays, Tognetti himself plays a 1743 Giuseppe “del Gesù” Guarneri violin, rumored to have once belonged to Paganini himself. Purchased for the ACO by an anonymous benefactor 17 years ago, its estimated value is $10 million.

The ACO has always pushed back against accusations of elitism. While the instruments may be considered extravagant, Tognetti argues that they are masterpieces, human-made works of art, rich in history and craftsmanship. He draws a parallel, noting that the cost of these instruments rivals the price of real estate in Sydney’s Paddington area.

Tognetti, who took the helm of the ACO at the age of 25 and has led it for 35 years, never imagined making Sydney his permanent home. Initially intending to return to Europe, he stayed and has since been honored as one of Australia’s National Living Treasures.

A key factor that kept him here was the long-promised, purpose-built home for the ACO. Finally realized in late 2022, the concert hall and rehearsal spaces at Pier 2/3 in Walsh Bay are what Tognetti describes as their “external instrument, our meta instrument.”

Reflecting on the orchestra’s evolution, Tognetti is proud of pushing both the orchestra and its audience out of traditional comfort zones. The upcoming 50th anniversary season in 2025 exemplifies this adventurous spirit. Highlights include a homage to the legendary 1920s Parisian cabaret bar, Le Bœuf sur le toit, and a return of the cinematic collaboration “Mountain.”

Other exciting items on the 2025 program include performances by South African singing cellist Abel Selaocoe, who merges classical training with traditional Xhosa throat singing; Beach Boys tunes; and a new work by Australian composer Holly Harrison. Carolina Eyck, a leading virtuoso of the theremin—the world’s earliest and perhaps oddest electronic instrument—will also feature.

Even for the ACO, known for venturing into eclectic and daring performances, the 2025 lineup is particularly remarkable. “We have a very adventurous audience,” Evans notes. “They want to learn, to be pushed and pulled. The bolder we are, the bolder they are.”

This audience engagement is far from the conventional, laid-back concert experience. “They’re not all going to love everything, but the level of engagement is phenomenal,” adds Evans.

Richard Tognetti’s 35-year artistic leadership of the ACO has helped transform it into a world-renowned orchestra, constantly pushing boundaries and exploring new artistic territories.

With such a spirited and eclectic program lined up, the ACO seems set to continue its dynamic journey, continually redefining what a modern orchestra can be.

Source: The Guardian