DOCSLIB.ORG

Genevieve Lacey Recorder Genevieve Lacey Is a Recorder Virtuoso

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Genevieve Lacey Recorder Genevieve Lacey Is a Recorder Virtuoso Ancient and new! Traversing a thousand years of music for recorder, leading Australian performer Genevieve Lacey weaves together an enticing program of traditional tunes, baroque classics and newly composed music. Genevieve Lacey Recorder Genevieve Lacey is a recorder virtuoso. Her repertoire spans ten centuries, and she collaborates on projects as diverse as her medieval duo with Poul Høxbro, performances with the Black Arm Band, and her role in Barrie Kosky’s production of Liza Lim’s opera ‘The Navigator’. Genevieve has a substantial recording history with ABC Classics, and her newest album, ‘weaver of fictions’, was released in 2008. As a concerto soloist Genevieve has appeared with the Australian Chamber Orchestra, Australian Brandenburg Orchestra, Academy of Ancient Music (UK), English Concert (UK), Malaysian Philharmonic Orchestra and the Melbourne, West Australian, Tasmanian and Queensland Symphony Orchestras. Genevieve has performed at all the major Australian arts festivals and her European festival appearances have included the Proms, Klangboden Wien, Copenhagen Summer, Sablé, Montalbane, MaerzMusik, Europäisches Musikfest, Mitte Europa, Spitalfields, Cheltenham, Warwick, Lichfield and Huddersfield. Genevieve is strongly committed to contemporary music and collaborations on new works include those with composers Brett Dean, Erkki‐Sven Tuur, Moritz Eggert, Elena Kats‐ Chernin, James Ledger, John Rodgers, Damian Barbeler, Liza Lim, John Surman, Maurizio Pisati, Jason Yarde, Steve Adam, Max de Wardener, Bob Scott and Andrew Ford. As Artistic Director, Genevieve will direct the 2010 and 2012 Four Winds Festivals. In 2009, she will also design a composer mentorship/residency program for APRA‐AMCOS, and program a season of concerts for the 3MBS inaugural Musical Portraits series. Genevieve holds academic and performance degrees (including a doctorate) in music and English literature from the University of Melbourne (Australia), the Schola Cantorum Basiliensis (Switzerland) and the Carl Nielsen Academy of Music (Denmark). She is a Fellow of the Faculty of Music, University of Melbourne and in 2009 is an artist in residence at the VCA. Her work has won her multiple awards including an ARIA (Best Classical Recording 01), Freedman Fellowship (01), Churchill Fellowship (06), Best Performance (Australian Classical Music Awards 06) and Outstanding Musician (Melbourne Prize for Music 07). Photo credit Monty Coles Graham Pushee Arts Management [email protected] Level 1 405 Elizabeth St Surry Hills 2010 Sydney NSW Australia Ph. +61 2 9211 9422 Fax: +61 2 9211 9466 www.artsmanagement.com.au REVIEWS Ballarat Courier 16 January 2006 “It is easy to run out of superlatives when describing the performances of Genevieve Lacey. Her musicality, technical prowess, and irresistible personality in everything she plays on the recorder make each concert special.” Bronislaw Sozanski The Guardian 24 June 2006 “a performance of great grace and dexterity” Tim Ashley The Adelaide Advertiser 4 October 2004 "standout artists were indisputably Genevieve Lacey, whose cooing recorder tones melted in the mind. Genevieve Lacey's brilliant performance of Jacob van Eyck's Amarilli remains especially strongly in the memory, her ability to communicate raw emotion through an instrument with such limitations both astonishing and delighting her listeners." Rodney Smith Adelaide Advertiser 24 May 2002 "... Genevieve Lacey is a virtuoso of the recorder... [she] is living, breathing proof that specialists need only apply. The technique is frankly superhuman, the musicianship supreme." E. Silsbury .
Load more

Recommended publications
  • MR Flinders Quartet Composer Workshop
    FLINDERS QUARTET MEDIA RELEASE COMPOSER WORKSHOP – FOR IMMEDIATE RELEASE MEDIA ENQUIRIES: Wendy Avilov [email protected] 0417 798 523 FURTHER INFORMATION: flindersquartet.com/composerworkshop FLINDERS QUARTET INAUGURAL COMPOSER WORKSHOP CALL FOR SUBMISSIONS Flinders Quartet (FQ) invites applications from composers to submit a short work for string quartet to be workshopped by the members of the quartet and composition mentor, Brenton Broadstock, resulting in a professionally recorded live performance. Up to eight composers will have the chance to spend up to three hours with the quartet on their composition, in this, FQ’s inaugural composer workshop. The workshops will take place in Melbourne and will be open to the public, allowing aspiring composers to witness the creative process of other composers as well as demonstrating their own compositional development. The workshops will take place over a period of eight days towards the end of 2016, and will culminate in a public performance that will be professionally recorded. FQ is deeply committed to furthering the Australian tradition of chamber music. The quartet regularly commissions and premieres works by Australia composers, and considers the development and presentation of new works an essential part of its activity. FQ believes that in order to best serve the composers and to truly develop their compositional skills and personal voice, having a live, professional string quartet at their disposal is an invaluable tool. Supported by Creative Victoria, this inaugural workshop will involve up to eight new composers and their compositions, giving each of the participating composers a career-leveraging opportunity. Over the course of eight days, the pieces will take shape and will be crafted to best showcase the composer’s intent.
    [Show full text]
  • AT HOME in the WORLD Wednesday 22 August 6Pm, Salon
    AT HOME IN THE WORLD Wednesday 22 August 6pm, Salon PRESENTED BY Melbourne Recital Centre ARTISTS Genevieve Lacey recorders Jane Gower Baroque bassoon Lars Ulrik Mortensen harpsichord PROGRAM ANTONIO VIVALDI (1678-1741) Sonata in A minor for recorder, bassoon & continuo I Largo II Allegro III Largo cantabile IV Allegro molto JOHAN HELMICH ROMAN (1694-1758) Sonata No.4 in G for recorder & continuo I Largo II Allegro III Larghetto IV Vivace V Allegro VI Non presto GEORG PHILIPP TELEMANN (1681-1767) Sonata in F minor, TWV 41:f1 I Triste II Allegro III Andante IV Vivace LOUIS COUPERIN (1626-1661) Prélude non mesurée in G MICHEL DE LA BARRE (1675-1745) Sonata L’inconnue in G for recorder & continuo, Book 2, No.9 I Overture II Vivement III Chaconne ABOUT THE ARTISTS Lars Ulrik Mortensen works extensively as a soloist and chamber musician throughout the world. From 1996-1999 he was a professor at the Munich Hochschule für Musik, and still teaches numerous courses. Mortensen is also active as a conductor, exclusively of period instrument ensembles. He is the Artistic Director of both Concerto Copenhagen and the European Union Baroque Orchestra. Additionally, Mortensen works with several distinguished ensembles such as Holland Baroque, Irish Baroque Orchestra, Nederlandse Bachvereniging and Collegium 1704. Mortensen has recorded extensively for many labels including DGG-Archiv, CPO, ECM and Kontrapunkt, winning a Diapason d’Or for Bach’s Goldberg Variations. He has received multiple prizes and distinctions, among them Denmark’s most prestigious music award, the Léonie Sonning Music Prize. After gaining her Bachelor of Music from the Canberra School of Music in 1992, Jane Gower undertook post-graduate studies in Early Music at The Royal Conservatory of The Hague.
    [Show full text]
  • Impact Report 2019 Impact Report
    2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts
    [Show full text]
  • In That Time…
    ASTRA 2007 5 pm, Sunday 9 September FITZROY TOWN HALL in association with the City of Yarra THE ASTRA CHOIR WITH BAROQUE TRIO IN THAT TIME… 17TH-CENTURY ITALY / 21ST- CENTURY ITALY Claudio Monteverdi MASS ‘IN ILLO TEMPORE’ (1610) Giovanni Fontana, Biagio Marini, Dario Castello, Domenico Gabrielli, Johann Jakob Froberger SONATE, RICERCAR, TOCCATA (1629-89) Georg Philipp Telemann TRIO SONATA (1740) Max Reger MOTET, DUO SONGS, CAPRICCIO (1904-09) Filippo Perocco, Francesco Pavan, Lorenzo Tomio, Federico Costanza, Gianandrea Pauletta CONCERTATO: NEW WORK FROM THE VENETO (2006-7) Genevieve Lacey, Daniel Yeadon, Neal Peres Da Costa The Astra Choir, soloists and ensemble Genevieve Lacey recorders Daniel Yeadon gamba, cello Neal Peres Da Costa harpsichord, organ, piano Kim Bastin piano, organ Peter Dumsday celeste, piano Timothy Phillips percussion Suzanne Shakespeare soprano, Catrina Seiffert soprano Louisa Billeter mezzo soprano, Hana Crisp mezzo soprano George Liakatos tenor, Ben Owen tenor Nicholas Tolhurst baritone, Jerzy Kozlowski bass The Astra Choir: soprano Suzanne Shakespeare, Catrina Seiffert, Irene McGinnigle, Gina McWilliam, Yvonne Turner, Olga Vujovic, Louisa Billeter, Larissa Cox, Maree Macmillan, Kim Tan alto Hana Crisp, Anna Gifford, Susannah Provan, Beverley Bencina, Aviva Endean, Frances McKinnon, Aline Scott-Maxwell, Lisel Thomas tenor George Liakatos, Ben Owen, Lachlan Brown, Chris Ochs, William Thompson, John Clarke, Greg Deakin, Simon Johnson, Scott Sanders bass Jerzy Kozlowski, Nicholas Tolhurst, Karl Billeter, Peter Dumsday, James Harland, Andrew Ferguson, Andrew Rostas, Chris Smith, John Terrell rehearsal conductor Phillip Villani conducted by John McCaughey IN ILLO TEMPORE… The Venetian 17th-century, the era that invented opera, was itself a theatre of contending forces in music – between myriad forms, old and new, for voices and instruments, but also between the parts of a musical composition itself.
    [Show full text]
  • Michael Finnissy Singular Voices
    Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988).
    [Show full text]
  • Imagining 2030
    Imagining 2030 Preparing for a National Arts, Culture and Creativity Plan May 2021 Paper 1 in ANA’s ANALYSIS Series | April 2021 Executive summary Arts and culture are a key part of creating moments and places that bring people together: great places to live, work, visit and do business. Our cultural and creative industries, institutions and individuals are important in terms of their contribution to the economic footprint and employment. They spur innovation across the economy, as well as contributing to numerous channels for positive social impact such as well-being and health, education, inclusion, urban regeneration and many others. Talking to middle Australians, they told us that imagination, belonging and inspiration all grow out of engagement with arts, culture and creativity, and that these opportunities are fundamental to being Australian. They also told us that today, ‘arts and culture’ means everything from film, design, and interactive gaming, through to community festivals, visiting the war memorial, or singing along to the radio in your car. From the picnicker at the Symphony in the Park to the visual art teacher in a rural school; from our writers and international pop stars to the theatre technician doing the lights for a local dance school’s performance: Australians believe arts and cultural activities are an integral part of life. Our cultural and creative industries are among the hardest hit by the pandemic. While all Australian governments have provided support, a coordinated approach is required to assist with the cultural and creative industries. A National Arts, Culture and Creativity Plan (NACC Plan) is a practical way for the Federal Government to facilitate more coherent and effective public and private investments across these industries, as well as legislative, regulatory and policy settings.
    [Show full text]
  • Date Recorded Gift Received Date Gift Item/Benefit Received by Title Occasion in Country of Origin Country) Or Current Market Value in Australia)
    Gifts and Benefits Register: for the period from 1 April 2021 to 30 June 2021 In the course of official duties, officials of the Australia Council received the following gifts and/or benefits where the value exceeded $A100 (excluding GST) Estimated value in $A (wholesale value Presented by (donor’s name, organisation/ Date recorded Gift received date Gift item/benefit Received by title Occasion in country of origin country) or current market value in Australia) 28/06/2021 25/06/2021 2 x tickets to Genevieve Lacey and Marshall McGuire Executive Director, Arts Investment Musica Viva Performance $110.90 28/06/2021 8/06/2021 2 x tickets to Bangarra Sandsong Manager, Strategic Development - First Nations Arts and Culture Bangarra Performance $150.00 28/06/2021 27/05/2021 1 x ticket to Opening Night Bigger and Blacker Stephen Oliver Manager, Strategic Development - First Nations Arts and Culture Sydney Opera House Opening night $150.00 28/06/2021 26/05/2021 1 x ticket to the ABIA Awards Acting Manager, International Development Operations The Australian Publishers' Association Awards Night $220.00 28/06/2021 19/05/2021 Comp registration - APAM Gathering at DreamBIG In Person International Market Adviser - North Asia Australian Performing Arts Market (APAM) Conference $715.00 28/06/2021 14/05/2021 Registration for Digital Program of APAM Gathering at DreamBIG Acting Manager, International Development Operations APAM Industry Gathering $240.00 28/06/2021 14/05/2021 APAM DreamBIG Registration International Development Consultant - Asia APAM DreamBIG
    [Show full text]
  • Liza Lim Olga Neuwirth Serge Prokofiev Orchestre Symphonique Du Swr Baden-Baden & Freiburg Kazushi Ono William Barton, Gunhild Ott, Håkan Hardenberger
    LIZA LIM OLGA NEUWIRTH SERGE PROKOFIEV ORCHESTRE SYMPHONIQUE DU SWR BADEN-BADEN & FREIBURG KAZUSHI ONO WILLIAM BARTON, GUNHILD OTT, HÅKAN HARDENBERGER THÉÂTRE DU CHÂTELET O NOVEMBRE NMMP © David Young Liza Lim Souffles Olga Neuwirth Texte de Laurent Feneyrou Serge Prokofiev Ces œuvres nous racontent toutes trois une histoire, autour du souffle, de la trompe,desonembouchure,deslèvresquil’animentetdesimages,poétiques ou triomphantes, qu’elle évoque. Un égal souci de narration les traverse, em- Liza Lim pruntant à la tradition épique du symphonisme russe, ou au kalyuyuru du The Compass, désert australien – ce mot par lequel les aborigènes désignent le miroitement pour didgeridoo, flûte et orchestre de l’eau qui tombe sur des lits asséchés et la fluidité des chants entendus en rêve –, ou encore à un quotidien équivoque, hybride, menaçant, rendu à son Olga Neuwirth absurdité, tout en césures, proliférations et décalages impromptus. ...miramondo multiplo..., Endebrèvesscènesmusicales,suscitantbiendesimagesàl’écoute,...miramon- pour trompette et orchestre do multiplo... saisit toute l’hétérogénéité des résonances de la trompette, un instrument qu’Olga Neuwirth étudia dès sept ans. De la grandiloquence par- entracte foisvantardedesontimbreàl’orphéonauxéchosfelliniens,entrefiguresbaro- ques et autres lignes suaves, sorties de musiques de film, le vampirisme des ci- Serge Prokofiev tationsetleurmontagen’yexcluentnilatorsion,nilasalissureduson,nil’ironie, Sixième Symphonie, en mi bémol, ni même, en deçà, la douceur révolue des années d’enfance,
    [Show full text]
  • 26 November 2007 Federation Square Melbourne
    Finalist exhibition 12 – 26 November 2007 Federation Square Melbourne Melbourne Prize for Music 2007 fi nalists / Brenton Broadstock / Paul Grabowsky / David Jones / Paul Kelly / Richard Mills Outstanding Musicians Award fi nalists / Clare Bowditch / David Chisholm / The Cat Empire / Luke Howard and Leonard Grigoryan / Cameron Hill / Andrea Keller / Genevieve Lacey / Stephen Magnusson / Geoffrey Morris / Flinders Quartet Development Award fi nalists / Sam Anning / Sophie Brous / Aura Go / Julian Langdon / Tristram Williams The Melbourne Prize for Music 2007 The free public exhibition of fi nalists will be catalogue provides a review of the fi nalists held in the Atrium at Federation Square in the following award categories: between 12 – 26 November 2007. Visitors can read about each fi nalist and listen to examples / Melbourne Prize for Music 2007 of their music. / Outstanding Musicians Award For further information on the Melbourne Prize / Development Award Trust and Melbourne Prize for Music 2007 please visit www.melbourneprizetrust.org or call 03 9650 8800. The Melbourne Prize for Music 2007 is made possible by the support of our partners and patrons. The Melbourne Prize Trust would like to thank all partners for their generosity. Government Partner Founding Partners Patrons Diana Gibson AO Megg Evans Melbourne Prize for Music 2007 Partners Venue & Exhibition Partner Exhibition Design Exhibition Construction Digital Printing & Banners Exhibition Photography Exhibition Consultants Coleby Consulting Audio Equipment PartnerMedia Communications Professional Services Print Partner Winners Trophies Website Fundere Foundry The Melbourne Prize for Music 2007 celebrates excellence and talent in music and demonstrates the value our community places on its creative resources. With the generous support of all our partners, we have been able to recognise and reward the abundant and diverse musical talent we have in Victoria and make this accessible to the public.
    [Show full text]
  • Program 2020
    Program 2020 (Further program details or changes may be inserted at a later date) Friday 10th January Recital 1 – St Alipius Church Festival 2020 Soloists Louisa Hunter Bradley Sally Anne Russell Opening Recital Christopher Roache Oliver Mann 8 pm 84 Victoria Street, Schola Cantorum and Melbourne Baroque Orchestra Ballarat East directed by Gary Ekkel St Mark Passion Composed for Good Friday in 1731, the whereabouts of the work since J. S. Bach that performance are shrouded in speculation. Many clues to the content of the Passion have recently come to light. Gary Ekkel presents his reconstruction of the St Mark Passion, a work worthy of the recognition given to Bach’s more famous St Matthew and St John Passions. Following the concert all are invited to supper in St Alipius hall. Donation $5 Saturday 11th January Recital 2 a– 10 am Carngham Uniting Church, Organ & viola Music for Organ and solo Viola Snake Valley Featuring Nicole Forsyth viola and James Forsyth organ Recital 2 b - noon Carngham Uniting Organ & viola Music for Organ and solo Viola Church, Snake Valley Featuring Nicole Forsyth viola and James Forsyth organ Morning Tea & Lunch available for purchase in support of the Carngham Uniting Church. Recital 3 – 3 pm Mary’s Mount Centre Piano Recital Stefan Cassomenos 1660 Sturt Street, Ballarat Recital 4a – 7 pm Loreto Chapel 4b - 9 pm Recorder & harp Genevieve Lacey recorder 1600 Sturt Street, Marshall McGuire harp Ballarat Sunday 12th January 9 am – 11 am “Opononui” Festival Breakfast Held in a private garden, this popular Festival tradition is an opportunity to renew old friendships and meet musicians and new 206 Gregory Street, members of the Festival family.
    [Show full text]
  • An Interview with Liza Lim Madeline Roycroft
    2017 © Madeline Roycroft, Context 42 (2017): 85–90. COMPOSER INTERVIEW The Ecology of Collaboration: An Interview with Liza Lim Madeline Roycroft Liza Lim is one of Australia’s leading composers. Born in Perth in 1966, she completed her BMus at the Victorian College of the Arts, MMus at the University of Melbourne and received her PhD from the University of Queensland. As Director of the Centre for Research in New Music at the University of Huddersfield from 2008–2017, Liza Lim established the highly regarded Divergence Press and CeReNeM Journals, as well as the Huddersfield Contempor- ary Records label. Now based in Melbourne, she maintains a part-time role at Huddersfield and from 2017 is Professor of Composition at the Sydney Conservatorium of Music. She is also Visiting Professor of Composition at the Shanghai Conservatory during 2017. Lim has been commissioned by some of the world’s pre-eminent orchestras, including the Los Angeles Philharmonic, BBC Symphony, and Bavarian Radio Orchestra, and she was composer in residence with the Sydney Symphony from 2005–2007. She has collaborated with ensembles such as MusikFabrik, Ensemble Intercontemporain and Ensemble Modern, and has been particularly associated with the ELISION Ensemble since the group’s inception. Lim has composed three operas: The Oresteia (1993), Moon Spirit Feasting (1999) and The Navigator (2008), all of which ELISION have performed in seasons across Melbourne, Brisbane, Adelaide, 85 86 Context 42 (2017) Tokyo, Moscow, Paris, Zurich and Berlin. Her fourth opera, Tree of Codes (2015), commissioned and presented by Cologne Opera, Musikfabrik and Hellerau in Cologne and Dresden, was described as ‘a major contribution to the music theatre of our time.’ Liza Lim connects her compositional practice to areas of thought and knowledge such as Australian Indigenous aesthetics, Asian ritual forms, Sufi poetics, and the textilic arts of weaving and knot-making.
    [Show full text]
  • I 'S So Critical to Give Musical Expression to What Is Around Us, to W .,.At Can Appe Cllaotic
    ASTRE I 's so critical to give musical expression to what is around us, to create m~aning out of w .,.at can appe cllaotic. I unemployment, Woomera, stem cells, education funding and Senate hearings Jesuit Publications Raffle Closing date Our biggest range of pri zes ever! Yo u can be the w inner in the Jes uit 24 June Publ ications Raffl e, and ca n celebrate FIRST PRIZE with one of the great prizes listed here. A shopping voucher to the value of $7500, Make sure your tickets are in by redeemable from Harvey Norman stores Monday 24 june. throughout Australia Entering the Jes uit Publications Second Prize: White goods to the value of $2000 Raffle is a way you ca n help us at Jes uit Pub lications ensure our continuing Third Prize: Colour TV to the value of $1000 financial viability, and is also an Fourth Prize: Camera to the value of $600 opportunity for you to win a great prize. Fifth Prize: $250 worth of books With this issue, subscribers will receive their raffle books. Please return in the reply-paid envelope by Monday 24 June 2002. Drawn on Monday 15 July 2002. Results published in Th e Australian, Saturday 20 July 2002. AABRL'S T RALL\\: B oo K RE \'IE\V C 0 N F E R E N C E Announcing a major new series on of monthly forums at Melbourne's WAR & TERRORISM liveliest venue for talk and ideas. POST SEPTEMBER 11 ABR saturday 18 May, 1.30·6pm WEDNESDAY FORUMS Stanway Al phaLecture Theatre at fortyfivedownstairs 160 The Av enue, Parkville in association with THE MIETTA FOUNDATION Speakers: 45 Flind ers Lane, Melbourne Dr Gordon Preece Dr Philip Mackinnon 6 for 6.30 p.
    [Show full text]