ACOCO sings our stories of today, and tomorrow.
ACOCO is committed to creating opera that is vivid; reaching the heart of our contemporary, diverse and unknown audience: inspiring anyone. Age, gender, sexuality, cultural background, politics - what does it matter? A human in a seat is what ACOCO wants. An 80 year old or an 18 yo - or anyone - experiencing contemporary opera by our company for the first time is a win for ACOCO.
Is presenting opera by old dead composers in their original form presenting ‘opera’ or exhibiting nostalgia? Giant retrospectives sell, but do they provoke, propel…?
Contemporary - in presentation, creation, ideas - brings a vitality and even a sense of discomfort - I see that as a driver for human endeavour - conquering, mastering, trying - that’s life-force. I’ve never been one for complacency - or being told not to dream so big. What’s the point in having people with less imagination and courage telling you what will or won’t work? If I’d listened to those types of people - those who played safe and are comfortable only when all around them do the same - I probably wouldn’t have finished high school.
An opera singer may enjoy singing 500 performances of Tosca because it is comfortable, but I’d rather see people step up out of their comfort zones, musically, theatrically - and that also goes for the audience.
Experimental opera/music theatre is a whole other box - and one I’m happy to leave to other people. My artistic choices are informed by what I like and see to be working elsewhere: stories compelling, music dramatic and effective - and the odd beautiful tune or harmony, rhythm or colour to simply connect instantly with people never goes astray.
We can revere past generations’ achievements but trying to emulate or aspire to anyone else’s success or path is pointless - the context in which they flourished no longer exists.
Looking for another Melba or Sutherland is symptomatic of the Australian cultural cringe - subscribing to the ‘old view’ that we’re not any of us worthy unless we can be as it was in the good old days.
Contemporary opera in America and Europe is exciting - increasingly irreverent, astounding in creativity/artistry, culturally aware and respectful of diversity.
Here in Australia we have new companies who still set out to do what everyone else is doing - where is the Australian identity and culture in that? Where’s the progress, and the vitality, if we keep doing the same things over and over?
FRANKLY: I’m tired of convincing people that the work we do is worth someone’s time and money - invaluable even -
If people don’t buy tickets - and stop devaluing the artists by expecting tickets for free or ‘for a bargain’ - they’ll have only mediocre in the future. Quality is backed by foundations, and it costs money. It doesn’t just appear due to talent or instinct, or come out of nowhere. Everyone involved has to become more engaged in getting people into those seats. A name on a brochure, unless a world-leader or influencer, is not going to get people out of their houses. The social aspect needs to be led by everyone - those involved and those who value - to create an inclusive and celebratory atmosphere. Too much sitting back, posting/sharing online, and expecting the world to change - IMHO…
About the works to be presented on Oct 3:
THE LOSER - a flawed human being confiding in each audience member. Some of the details are shocking but you don’t want to miss a word - satirical, surprising and with a biting wit that gives way to cathartic laughter.
TO HELL AND BACK is a more conventional two person dialogue told in present and past tense. A fly-on-the wall view of a complicated relationship between a mother and her daughter-in-law. Both of the beautifully drawn and musically crafted characters make it easy to ask yourself - what would you do?