Alleged DancesPROGRAM ONE 29 FEBRUARY – 14 MARCH 2016

National Season 2016

Australian String Quartet

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The Elder Conservatorium of Music is Australia’s oldest and most distinguished tertiary music school. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the Australian String Quartet - our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.

music.adelaide.edu.au

Elder Conservatorium of Music

Delivering over 130 years of music excellence

Hello and welcome to the Australian String Quartet’s first National Season concert for 2016, Alleged Dances. We are so excited to present this dynamic program to kick off the season. The program draws together musical elements that are important to us, from masterworks to new composition, contemporary international music and lesser-heard gems. Thank you for coming to dance this journey with us!

We begin with Beethoven. His 16 string quartets represent a quintessential element of our musical history. Like every musical form he touched, Beethoven’s quartets clearly trace an astonishing development in composition. They are challenging, rewarding, and have a timeless ‘delve-into-me-and-discover-something-new-every-time’ quality that is unfathomable. Op 18 no 6, marks a turning point where he was pushing the compositional boundaries of Haydn and Mozart, confusing the beat, and employing sudden changes of mood, dynamic and tempo. The final movement begins with a slow introduction that hints at his late string quartets in writing style and profundity.

There is so much extraordinary music being written by Australian composers to share with you. Through the generous help of a group of passionate commissioning friends, our second piece on this program is a brand new work for string quartet and percussion, written by the irrepressible Matthew Hindson. Australian percussionist Claire Edwardes from Ensemble Offspring joins us on vibraphone for this highly charged two-movement work, String Quartet no 4 for string quartet and percussion.

Dale has been living in North America for more than half his life since leaving Brisbane. As part of the celebration of his

Welcome

return we have chosen three movements from John’s Book of Alleged Dances and Claire has arranged the original prepared piano part for hand percussion. Somewhat different to the John Adams style that many are familiar with, these dances range from cerebral and seductive, to energetic and catchy, to downright funky.

There have been so many amazing quartets written over the centuries that it is inevitable that some will fade from the limelight, though they are equally beautiful. An example is Schumann’s first quartet, a commonly loved composer whose quartets are less frequently programmed. His first, dedicated to his friend Mendelssohn is a work of profound beauty. The opening movement, as welcoming as a warm embrace, contrasts with a light and fast Scherzo, a grand Beethovian slow movement and punchy finale that gallops the quartet off the stage.

We look forward to playing to you in many additional, different and intimate surroundings beyond our national series. Perhaps we’ll see you in the beautiful stone and timber woolshed at our Dunkeld Festival after Easter, or a private barrel room during our Margaret River Festival. We also introduce a different concert format in our Close Quarters series in smaller venues such as bars, galleries, distilleries and regional spaces. Residencies, both regional and urban, will also begin from this year. We would like to make a special welcome to Canberra, joining our full National Season for the first time. So stay tuned to asq.com.au and facebook to hear more exciting news and details.

Welcome! Dale, Francesca, Stephen and Sharon

Program Dates

Beethoven String Quartet in B flat major op 18 no 6

Matthew Hindson* String Quartet no 4 for string quartet and percussion (World premiere) Commissioned by the Australian String Quartet

INTERVAL

John Adams* Excerpts from John’s Book of Alleged Dances with percussion (percussion arranged by Claire Edwardes)

Schumann String Quartet no 1 in A minor op 41 no 1

*With guest percussionist Claire Edwardes

The Australian String Quartet wishes to dedicate this program in memory of The Late Honourable Dr John Charles Bannon AO (1943 – 2015).

Adelaide** Adelaide Town Hall 7.00pm Mon 29 February

Sydney City Recital Hall 7.00pm Tue 1 March

Brisbane Conservatorium Theatre, South Bank 7.00pm Wed 2 March

Melbourne Melbourne Recital Centre 7.00pm Thu 3 March

Canberra Gandel Hall, National Gallery of Australia 2.00pm Sun 6 March

Perth Government House Ballroom 7.00pm Mon 14 March

**Presented in association with

Don’t miss our next National tour

Tempesta 30 June – 11 July 2016

With a rich history spanning over 30 years, the Australian String Quartet (ASQ) has a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years.

The Quartet frequently performs with leading guest artists and in recent years has appeared with internationally acclaimed artists including pianists Angela Hewitt and Piers Lane, mezzo-soprano Anne Sofie von Otter, clarinettist Michael Collins, violist Brett Dean and cellist Pieter Wispelwey.

The Quartet’s performance calendar for 2016 comprises a National Season featuring three unique concert programs presented in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; and international and regional touring.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the ASQ for their exclusive use through the generosity of Ulrike Klein and Ngeringa Arts.

Dale Barltrop plays a 1784 Guadagnini Violin, Turin.

Francesca Hiew plays a 1748-49 Guadagnini Violin, Piacenza.

Stephen King plays a 1783 Guadagnini Viola, Turin.

Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.

Pictured from left, Dale Barltrop, Sharon Draper, Stephen King and Francesca Hiew

AustralianStringQuartet

The members of the Australian String Quartet are privileged to have access to a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already through the generosity of the Klein Family and other donors, Ngeringa Arts has acquired the viola and in 2015 it acquired the violin crafted in Turin, 1784, through the generosity of Allan J Myers AC, Maria J Myers AC and the Klein Family. Its next priority is the cello. Crafted in 1743 it is one of his finest and was featured in an international exhibition in Parma, Italy to celebrate the 300th anniversary of Guadagnini’s birth.

Through the generosity of the Klein Family Foundation, the James and Diana Ramsay Foundation and a group of committed donors we aim to raise the purchase price of $1.83M by 30 June 2016. History-making endeavors like this are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who understand the significant cultural value in a collection of this calibre. The Board of Ngeringa Arts recognizes and thanks the following patrons who have each made a significant contribution to this project.

Klein Family FoundationAllan J Myers ACMaria J Myers AC James and Diana Ramsay FoundationDiana McLaurinJoan LyonsMrs F.T. MacLachlan OAMMr H.G. MacLachlanHartley HigginsDavid and Pam McKeeIan and Pamela Wall

Janet and Michael HayesRichard HarveyJill RussellLyndsey and Peter HawkinsJari and Bobbie HryckowJanet and Gary TilsleyMary Lou SimpsonAnonymous (1)

Please join Ngeringa Arts in building this extraordinary musical legacy. To donate go to www.ngeringaarts.com

For more information contactAlison BeareGeneral Manager, Ngeringa ArtsP (08) 8227 1277E Alison@ngeringaarts.com

Guadagnini Quartet Project

Claire Edwardes — guest percussionist

Internationally acclaimed percussion soloist, chamber musician and artistic director of Ensemble Offspring, Claire Edwardes has been described by the press as a ‘sorceress of percussion’ performing with ‘spellbinding intensity’ and ‘graceful virtuosity’. Her award-winning performances combine a theatrical energy with charismatic and original interpretations bringing to life the varied array of music she performs.

In 2014, Claire was granted a prestigious Australia Council Music Fellowship. She is the two-time winner of the AMC/APRA Art Music Award for her contribution to Australian music (2012/2007) and was the most recent percussionist to win the Symphony Australia Young Performers Award back in 1999. Between 1999–2006, Claire was resident in the Netherlands during which time she was the winner of numerous international instrumental competitions.

In Australia she has performed concertos with all of the leading orchestras, and in 2015 she championed three Australian percussion concertos including a world premiere by Iain Grandage with the Melbourne Symphony Orchestra and Tasmanian Symphony Orchestra.

Matthew Hindson — guest composer

Matthew Hindson AM is one of the most-performed and most-commissioned composers in the world, and the leading Australian composer of his generation. As well as being performed by every Australian orchestra, the London Philharmonic, the Los Angeles Philharmonic and the Royal Philharmonic among many others, Matthew’s music has been set by dance companies such as the Birmingham Royal Ballet, San Francisco Ballet, National Ballet of Japan and the Sydney Dance Company.

Matthew is the Acting Head of School and Acting Associate Dean, Learning and Teaching at the Sydney Conservatorium of Music. From 2004–2010, he was the artistic director of the Aurora Festival which is dedicated to the work of living composers. In 2006 Matthew was made a member of the Order of Australia (AM) for his contributions to music education and composition. From 2009–2013 Matthew was the Chair of the Music Board of the Australia Council for the Arts, and from 2013–2015, a board member of the same organisation.

Ludwig vanBeethoven(1770-1827)

String Quartet in B flat major op 18 no 6 Allegro con brio Adagio ma non troppo Scherzo (allegro) & trio Adagio: ‘La Malincolia’ – Allegretto quasi allegro

By the end of his first decade in Vienna, Beethoven had composed a number of important chamber works, but only then did he start to work in the genres which his teacher Haydn – with whom he had a difficult relationship, to say the least – had dominated, producing the opus 18 set between 1798 and 1800.

As a group of six, op 18 follows the practice of both Haydn and Mozart (in the ‘Haydn’ Quartets), and the influence of specific works by both composers can be seen. Beethoven made no secret of his labours with the form – only after producing the set did he feel that he had learned how to write quartets properly. But one admirer, Countess Josephine von Deym, was sure they were ‘the greatest of their kind’.

The B flat major work is of interest for a number of reasons, principally in that this is a piece which attempts to unify a number of different and highly contrasting musical styles and manners (a feature of the late quartets). The first movement has the kind of genial wit we have come to expect in these works; the slow movement removes its mask of impassivity for occasional hints of pathos in its more decorated passages; the Scherzo shows Beethoven experimenting, as he will again and again, with the contrast between triple and duple metres.

But for the first time in this set it is the finale which is the longest of the four movements.

Haydn had inherited a tradition of lightweight three-in-a-bar final movements which seemed more and more ephemeral as his first movements in ‘sonata design’ grew longer and more sophisticated. Beethoven had largely adopted Haydn’s solution (a mixture of sonata and rondo designs), but here goes one better by adding a slow introduction (also a practice perfected by Haydn). The dramatic effect of the introduction is to increase tension. Formally it moves the music away from the main key, often becoming quite unstable; dramatically, it temporarily frustrates our expectations of fast music.

The Allegretto which eventually appears is possibly more superficial than we might expect, but this is arguably the result of the extraordinary character of the introduction itself – subtitled La Malincolia. Here we not only hear Beethoven creating, as he often does, something out of apparently no material, we witness one of the first examples of his clear identification of music with specific spiritual and emotional states.

Gordon Kerry © 2001

String Quartet no 4 for string quartet and percussion (World premiere)

This piece is based around the idea of new  beginnings, and the subsequent effects that these may have on one’s life and work.

There are, given how both of these families are favourites of contemporary composers, surprisingly few works for string quartet and percussion. Working with this combination for the first time has opened up new ways of thinking to me, in contrast to my previous string quartets. The percussion part in String Quartet no 4 is almost entirely for the vibraphone, one of my favourite instruments and certainly my favourite percussion instrument. The work is ‘pure’ chamber music – no one part takes a greater role than any other. The musical ideas are shared equally and have been written to each instrument’s strengths, as well as attempting to create interesting and novel combinations.

Further to the idea of new beginnings are two starting points. First, I knew that this would be the first commissioned work for the new line-up of the Australian String Quartet – and with any new group of musicians, such a change is like a rebirth of sorts, even in a form as established as the string quartet. There is the interplay of the new and the old, of the recent recruits and the veterans. Particularly in the first movement, the quartet and percussion work as a unit and in smaller combinations, including solo passages demonstrating the possibilities of what can be, and at times pushing the boundaries of what is playable or not.

The second new beginning is more personal to me. About a year before this piece was completed, my daughter Mabel was born, and this work is dedicated to her. Over this first year of her life, I have observed (as every parent does) her personality developing, changing, and her physical and emotional characteristics coming into play. I wonder where it will all lead – and of course I don’t know, but do hope for all the best for Mabel, and for myself and Jodie as her parents. The possibilities seem endless and extraordinary. In any case, this particular new beginning has elicited a strong love that I would not have imagined possible over a year ago. The vibraphone, in particular, has made such an expression of love possible in this work: it is the perfect instrument to showcase such emotion, together with the extraordinary possibilities of the string instruments with their lyricism, delicacy and passion.

© Matthew Hindson 2016

Matthew Hindson’s String Quartet no 4 has been commissioned by the Australian String Quartet with the support of the following commissioning partners: Veronica and Don Aldridge, John Clayton, Susan and Daniel Hains, Janet and Michael Hayes, Greg and Lyn Jaunay, Jill Russell, Janet and Gary Tilsley and Fay Zaikos. We acknowledge and thank our partners for their generous donations. 

MatthewHindson (born 1968)

JohnAdams (born 1947)

Excerpts from John’s Book of Alleged Dances (percussion arranged by Claire Edwardes) I Judah to Ocean VI Habanera V Rag the Bone

Adams composed John’s Book of Alleged Dances in 1994. At the time he was broadening his musical language beyond the relative harmonic simplicity and relentless rhythmic energy of his earlier  ‘post-minimalist’ music, looking in instrumental works like the Chamber Concerto and Violin Concerto, towards an idiom that assimilated some of the introspection and complexity of music such as Schoenberg’s. As he explains in his own note (at www.earbox.com):

The Alleged Dances were the next pieces written after the Violin Concerto, a complex work that took a full year to compose. The Concerto emboldened me to go further with string writing, and some of the techniques and gestures I’d touched on in it appeared again in the new string quartet, only in a less earnest guise. The Book is a collection of ten dances, six of which are accompanied by a recorded percussion track made of prepared piano sounds. The prepared piano was, of course, the invention of John Cage, who first put erasers, nuts, bolts, and other damping objects in the strings of the grand piano, thereby transforming it into a kind of pygmy gamelan. In the original version of Alleged Dances the prepared piano sounds were organised as loops installed in an onstage sampler, and one of the quartet players triggered them on cue with a foot pedal…

The dances were ‘alleged’ because the steps for them had yet to be invented (although by now a number of choreographers, including Paul Taylor, have created pieces around them). The general tone is dry, droll, sardonic. The music was composed with the personalities of the Kronos players very much in mind.

Here the ‘percussion track’ has been arranged by Claire Edwardes in three dances. Judah to Ocean celebrates a specific streetcar route in Adams’ adopted hometown, San Francisco, from North Judah Street to the waterfront. Rhythmic percussion figures sound against pithy motifs from the upper strings, with more random interpolations from the cello, before the first violin introduces a bluesy tune. The repeated motifs representing the tram continue to sound, as it passes out of our sight and hearing.

Rag the Bone doesn’t evoke the music of, say, Joplin, but it reminds us of the ways in which American vernacular music melds traditions from places as dissimilar as West Africa and the west of Ireland. The moody Habanera is, in Adams’ words, ‘a lament for a season without baseball.’

© Gordon Kerry 2016

Robert Schumann (1810-1856)

String Quartet in A minor op 41 no 1 Andante espressivo – Allegro Scherzo: presto Adagio Presto

In early 1842, Clara Schumann was on tour. Robert, upset at being treated as a mere handbag, returned to Leipzig. Shortly beforehand he had begun thinking about writing quartets, and in Clara’s absence he made a thorough study of the string quartets of Haydn, Mozart and Beethoven before beginning the composition of his own chamber music. The three String Quartets (opus 41, nos 1, 2 and 3) were written in two months, and this period also saw the composition of the Piano Quartet and Piano Quintet. Believing that ‘a master of the German school must know his way around all the forms and genres’, and, needing to transform himself in the public mind from a pianist and critic into a composer, Schumann was remarkably systematic. He spent concentrated periods on single genres around 1833 and again from the time of his marriage, when he spent roughly a year each on songs, orchestral, chamber, choral and dramatic music. Scholar Charles Rosen argues that ‘no-one did more to make the Classical forms untenable’ than Schumann, whose genius was in the realm of the lyrical fragment, and it is true that genres like symphony and quartet largely went into abeyance until Brahms reached his full maturity.

Nevertheless, the A minor quartet is a remarkable first go at the genre. The study  of Haydn is reflected in the use of a slow introduction to generate expectation of the fast music which dominates the movement; the movement as a whole –predictably enough – can’t resist singing, the lyrical melody of the introduction forming the basis for a wonderfully entwined counterpoint. Again, as Haydn occasionally did, Schumann puts the dance-like Scherzo next. Here is an energy which recalls some of Schumann’s evocative piano writing in the songs, but which is occasionally interrupted for dramatic effect. The dance also serves to throw the slow movement into sharper relief. If Haydn is the inspiration for some of the earlier music in the work, the Adagio is clearly an attempt to sound Beethovenian, elaborating the noble theme announced by the cello at the start. (Beethoven’s op 131 gave Schumann a kind of template, guaranteeing a sense of unity supporting the varied kinds of music it contains.) The gutsy, rustic music of the Presto finale– often featuring a drone bass – again recalls Haydn, and just before the work’s final pages, it’s as if an ancient hurdy-gurdy were heard from far off.

Gordon Kerry © 2015

Principals ($50,001+)Klein Family FoundationAllan Myers AC & Maria Myers AC Nicholas & Elizabeth Callinan Clitheroe Foundation Thyne Reid Foundation Richard Harvey & the Late Tess Harvey Lyndsey & Peter Hawkins Hunt Family Foundation Norma Leslie Michael Lishman Macquarie Group FoundationIan Potter Foundation Anonymous (1)

Champions ($25,001 - $50,000)Mr Philip Bacon Wright Burt Foundation Janet & Michael Hayes David & Pam McKee Mrs Diana McLaurin Anonymous (1)

Guardians ($10,001 - $25,000)Angela Flannery Lang Foundation Joan Lyons Peter & Pamela McKee Brenda Shanahan Charitable Fund

Classic Partners ($5,001 - $10,000)Don & Veronica Aldridge John Clayton Josephine Dundon Keith Holt & Anne Fuller Andrew & Fiona Johnston Mr Robert Kenrick Skye McGregor P M Menz Susan M Renouf Robert Salzer Foundation

Andrew Sisson Nigel Steele Scott Gary & Janet Tilsley Ian Wallace & Kay Freedman Lyn Williams AM

Friends ($1,000 - $5,000)David & Liz Adams Peter Allan Michael & Susan Armitage John & Mary Barlow Bernard & Jackie Barnwell Philip Barron Dianne Barron-Davis David & Caroline Bartolo Alison Beare Berg Family Foundation Ms Baiba Berzins Bernard & Sharon Booth Stephen & Caroline Brain Thomas Breen David & Kate BullenRic Chaney & Chris Hair John & Libby Clapp Geoff Clark Peter Clemenger AO & Joan Clemenger Caroline & Robert Clemente Dr Peter Clifton Ian & Rosana Cochrane David Cooke Colin & Robyn Cowan Maurice & Tess Crotti Marie Dalziel Mr James Darling AM & Ms Lesley Forwood Michael J Drew Jiri & Pamela Fiala Margaret Flatman John Funder & Val Diamond Philip Griffiths Architects Professor Keith Hancock

Donors

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contributions either remain anonymous or are less than $1000. The following donations reflect cumulative donations made from 2011 onwards and the Australian String Quartet is extremely grateful for all the support received from all its donors.

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444 or by downloading a donation form at asq.com.au

Dr Penny Herbert in memory of Dunstan Herbert Hilmer Family Foundation Dr E H & Mrs A Hirsch Anita Poddar & Peter Hoffmann Janet Holmes à Court AC Jim & Freda Irenic Barbara Jarry Lynette & Gregory Jaunay Neil & June Jens Mr S Johns Brian L Jones OAM Kevin & Barbara Kane Andy & Jim Katsaros M & F Katz Family Foundation Rod & Elizabeth King Stephen & Kylie King Hon Diana Laidlaw AM Dr David Leece PSM RFD ED The Hon Christopher Legoe QC & Jenny Legoe Kevin Long Megan Lowe Dr Robert Marin Simon Marks-Isaacs HE & RJ McGlashan Janet McLachlan Helen & Phil Meddings Mrs Inese Medianik Hugo & Brooke Michell Susan & Frank Morgan Mrs Frances Morrell DG & KC Morris Victor & Barbara Mulder The Late Elisabeth Murdoch AC DBEJon Nicholson & Jennifer Stafford Terry & Pauline O’Brien Paul O’Donnell John O’Halloran John Phillips Lady Potter AC

Patricia H Reid M Resek Chris & Fran Roberts Jill Russell Trish & Richard Ryan AO Jeanette Sandford-Morgan OAM Drs Paul Schneider & Margarita Silva Michael & Chris Scobie Antony & Mary Lou Simpson Dick & Caroline Simpson Pamela & Tony Slater Keith & Dianne Smith Segue Financial Services Elizabeth Syme Mr Eng Seng Toh Jenny & Mark Tummel Nicholas Warden Ted & Robyn Waters Janet Worth Annie & Philip Young Pamela Yule Fay Zaikos

Music Library FundProf Richard Divall AO OBE John & Carole Grace Roz Greenwood & Marg PhillipsJanet & Michael Hayes Mrs Diana McLaurinGary & Janet Tilsley

ASQ Festivals

For more information or to book today visit asq.com.au or call 1800 040 444.

Dunkeld Festival of Music

Fri 1 – Sun 3 April 2016 Sun 3 – Tue 5 April 2016

Set in the magnificent surrounds of Dunkeld in Victoria’s Southern Grampians, enjoy wonderful hospitality provided by the iconic Royal Mail Hotel with intimate concerts presented in the Myers’ Gallery and the charming Mt Sturgeon Woolshed.

Margaret River Weekend of Music

Fri 8 – Sun 10 April 2016

Savour the best of the spectacular Western Australian wine region with a musical adventure at Cape Lodge, Fraser Gallop Estate, Vasse Felix and Voyager Estate. With matched food and wine from four of the region’s finest wineries, this weekend of music is a feast for the senses.

The Australian String Quartet is delighted to present two exquisite regional festivals in 2016 including*: leading guest artists the Trüb-Brown Duo (Luxembourg) featuring cellist Niall Brown and pianist Isabelle Trüb; soprano Sara Macliver; and talented young Australian violist Katie Yap. Set in intimate surrounds, savour a regional escape and relish the musical highlights including:

*Isabelle Trüb appearing Dunkeld Festival of Music only and Sara Macliver appearing Margaret River Weekend of Music only.

Schubert Sonata for cello and piano in A minor D821, Arpeggione

SchoenbergString Sextet op 4,Verklärte Nacht (Transfigured Night)

Tchaikovsky String Sextet in D minor op 70, Souvenir de Florence

Mozart String Quintet in G minor K516

Dvořák Piano Quintet no 2 in A major op 81

Beethoven String Quartet in E-flat major op 74, Harp

Bartók String Quartet no 3

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Board Alexandra Burt Nicholas Callinan (Chair) Janet Hayes Marisa Mandile Paul Murnane Maria Myers AC Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco, Chief Executive