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What to expect at a TSO concert

6 January 2024. Written by Stephanie Eslake.

Are you new to the orchestra?

Listening to music at home can stir your emotions but nothing beats the thrill of a live orchestral experience, when your breathing, heart beat and even your goosebumps fall into sync with those around you.

The best part is that you don’t need to worry about wearing a formal outfit or breaking any ‘rules’. Read on to discover why the TSO should be on your must-do list.

Will Newbery smiling at the camera.
What will I experience at a TSO concert?

‘To hear a symphony orchestra live – and to be in the room with the musicians making the music – is not an experience that can be replicated in any other way,’ William Newbery says.

As a musician in the TSO's viola section and the host of the orchestra's 6pm Series, Will would know. When he plays, he is surrounded by luscious string instruments that soar with romantic melodies, and power through rip-roaring symphonies.

Each TSO concert is planned for the pleasure of the audience, from compact and thrilling one-hour performances to the magnificent Federation Concert Hall series. You’ll hear inspiring new Australian music alongside famous works by the greatest composers of all time.

Will says that if there’s one thing you shouldn’t expect, it is a stuffy concert experience. There is nothing pompous or high brow about the orchestra, he says.

‘We're all members of the Tasmanian community, just like anybody else, and we’re here to perform music that exists because composers wanted people to listen to it and enjoy it,’ Will says.

What should I know about clapping?

Classical music pieces are often divided into distinct sections called movements. Each movement can sound so thrilling that after it’s finished and the musicians pause, you may want to leap out of your seat and give our musicians a standing ovation.

But those around you will often remain silent. Why aren’t they clapping?

It has nothing to do with enjoyment, and everything to do with tradition. Some famous composers, such as Mendelssohn, Mahler, and Schumann, thought their music should flow without any distractions. But we’ve reached the 21st Century – and you can break tradition if you’re inspired to make some noise.

If you’re still feeling self-conscious about clapping between movements, why not think about what the musicians would like to hear?

Clara-Jumi Kang
‘No one should be embarrassed about enjoying something enough to clap for it,’ Will says.
Clara-Jumi Kang

It’s a view shared by the TSO's Chief Conductor and Artistic Director Eivind Aadland.

As Eivind says, ‘if you applaud in the “wrong place” between movements, it's not wrong – I love it when people do that’.

‘So don’t worry. Come and enjoy our music,’ Eivind adds.

And remember, when Will and his TSO colleagues play a gripping symphony from Beethoven or Tchaikovsky, they might even expect you to put your hands together.

‘Of course the audience is going to clap – as if you wouldn’t!’ Will says.

Do I need to dress up?

TSO musicians prioritise comfort. A few years ago, they retired the old white tie and tails, and said goodbye to the cummerbund, a centuries-old accessory. Sometimes, the musicians love nothing more than putting on a silly outfit to match a concert theme and they absolutely love it when audience members join in the fun.

Mostly, the musicians like to feel confident and relaxed. That’s exactly how you should feel, too.

You’re welcome to dress up to the nines, but you're not expected to. Smart casual is a good place to start. You wouldn’t look out of place in a pair of jeans if that’s what you’ll feel great in.

‘The music’s going to sound the same no matter what you’re wearing. So just wear something that makes you happy,’ Will says.

Clara-Jumi Kang
Nobuyuki Tsujii
Can I take photos?

The best way to enjoy a TSO concert is to be fully present. You’re here to witness something extraordinary that exists in the moment. So, switch your phone to silent, and immerse yourself in each once-in-a-lifetime performance experience.

There will be time to capture your memories before and after the concerts. Feel free to take a snapshot before the music begins, or when the performers take their final bow. Just remember to turn off the flash.

You can tag us @tasmaniansymphonyorchestra and #TasmanianSymphonyOrchestra if you’re sharing your memories.

How early should I arrive?

It's recommended that you arrive 30 minutes before the concert.

If you’re running late, don’t panic. The TSO's friendly box office staff will be there to usher you into the hall.

In Federation Concert Hall, the Atrium Bar is open for drinks before the concert, so you could settle in for a chat before the bell rings to signal that it’s time to find your seat. There’ll also be drinks in the foyer where you might spot a familiar face in the crowd. This is Tasmania, after all.

You can find further details here to help you plan your visit including accessibility arrangements for drop-off, entry, and seating that’s right for you.

Our Obscura series is held at Hobart’s Odeon Theatre, where the bar staff make a pre-concert cocktail to match the theme of each event. Doors open at 5pm, so there’s plenty of time to soak up the atmosphere before the show starts at 6pm.

Clara-Jumi Kang
Nobuyuki Tsujii
Will the kids have fun?

Musicians and staff of the TSO love seeing children encounter the magical sounds of the orchestra. They've even designed a range of concerts for the little ones.

Family Concerts are tailor-made for youngsters, while Relaxed Concerts are ideal for kids with sensory needs: a small group of friendly musicians will introduce the music and instruments in a welcoming environment.

Federation Concert Hall events are an exciting option for those aged 12 and older. These concerts tend to conclude between 9:30pm-10pm.

There are plenty of options for those with an earlier bedtime. The 6pm Series concerts feature an hour of epic music, hosted by the one and only Will Newbery as MC.

Plan your Tasmanian Symphony Orchestra experience by visiting our concerts page.

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Sharing the joy of music with school children across Tasmania

11 December 2024.

The Tasmanian Symphony Orchestra is excited to launch its TSO for Schools program for 2025. Throughout next year, our musicians will once again be hitting the road to visit schools and communities across the state.

In 2024, the TSO has reached a record number of school children. By the end of this week, more than 12,000 Tasmanian students will have attended a TSO performance in a school, concert hall or community venue.

Our musicians have performed for school children from Burnie to Strahan, St Helens to Triabunna.

‘We are well on our way to achieving our vision that by 2030 every Tasmanian child will experience their orchestra by grade 3,’ says TSO chief executive Caroline Sharpen.

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TSO for Schools is generously supported by the TSO Business Collective – a diverse network of Tasmanian professionals who are passionate about providing children across the state with access to music education.

In 2025, Variety Tasmania will sponsor TSO events across Tasmania’s North West, making them free for schools in the region.

In the South, free events will include multi-school concerts for younger students and an emerging composers’ concert for those in secondary school.

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Later in the year, there will be festive Halloween and Christmas-themed concerts in the TSO Studio in Hobart.

Additional TSO for Schools activities include exciting training for music teachers and our popular Science and Sound sessions, which explore how music is made and align to the primary school science curriculum.

For secondary students, open rehearsals are a great opportunity to see and hear how the conductor and the musicians work together to prepare for a performance.

Find out more about the TSO for Schools program here.

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TSO to star in the Australian Musical Theatre Festival

1 December 2024.

The Tasmanian Symphony Orchestra will perform in Launceston in May 2025 as part of the Australian Musical Theatre Festival.

The TSO will be joined by legendary singer, dancer and actor Caroline O’Connor, music theatre star Alinta
Chidzey and much-loved Australian tenor, Mark Vincent.

Titled Some Enchanted Evening, the concert will deliver lush orchestral arrangements of Broadway and West End classics, under the direction of musical composer and conductor, Guy Noble.

The festival's artistic director, Tyran Parke says the collaboration with the TSO 'takes the festival to new levels'.

'Some Enchanted Evening will be a pinnacle event in a program that encompasses five days, many venues, a range of engagements with many of our greatest stars and emerging talent, all set alongside an international city of gastronomy that serves the best food and wine I know,' he says.

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Music theatre star Alinta Chidzey.

The repertoire on the night will include favourites from Rodgers and Hammerstein, Andrew Lloyd Webber, Stephen Sondheim and others.

'Over the past five festivals, the program has grown to include new works and classic musicals re-interpreted in modern contexts and unusual spaces, alongside concerts and forums, created especially to celebrate the unique culture of a city that keeps
delighting one and all,' Parke says.

In 2024, the Sydney Morning Herald theatre critic John Shand described the festival, as 'wildly imaginative and ambitious'.

'A gathering of storytellers: of young people honing their craft, and stars revelling in the virtuosic lyrics that define the idiom’s best songs. Music festivals of all stripes have always been about the shared experience as much as the art … Launceston’s ideal for the purpose,' Shand wrote.

Limelight editor, Jo Litson says Launceston 'works a treat as a festival centre'.

'It’s a small, attractive city, so getting from one venue to the next is an easy walk, while the Grand Chancellor Hotel, which backs onto the Princess Theatre, became something of a festival hub, with performers and audience members gathering to eat, drink and chat in the lobby bar,' Litson reported.

Experience the magic of musical theatre in a breathtaking concert with the Tasmanian Symphony Orchestra as part of the Australian Musical Theatre Festival! Saturday 24 May 2025 7:30pm, Princess Theatre, Launceston. Book now.

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Meet the Musicians: TSO Chorusmaster Warren Trevelyan-Jones

29 November 2024. Written by Sally Glaetzer.

From a major film soundtrack to the world-famous choir of Westminster Abbey, TSO Chorusmaster Warren Trevelyan-Jones has had a fascinating career as a singer, choral conductor, coach and music therapist.

We sat down with Warren ahead of our end-of-year concert, Bach’s Christmas Oratorio, to find out what drives his love of choral music.

Having sung as a cathedral Choral Scholar in his teens and qualified as a music therapist at Bristol University, Warren spent nearly a decade as a Tenor Lay Vicar (adult singer) in the Choir of Westminster Abbey in London.

With the world-renowned choir, he performed at royal events such as the Queen Mother’s funeral and, as a freelance vocalist, he performed extensively through Europe and the world. Warren has appeared on more than 60 albums, including the soundtrack to a Harry Potter film (Goblet of Fire).

Warren moved to Australia in 2008 to take up the role of Head of Music at St James’ Church in Sydney, leading high-profile collaborations and national and international tours in addition to the regular choral services.

He has performed with many international ensembles, including the Tallis Scholars, The Gabrieli Consort and Collegium Vocale Gent. He founded the Gramophone award-winning group Ensemble Plus Ultra with Dr Michael Noone and, more recently, The Consort of Melbourne.

Warren has been Chorus Master at the Melbourne Symphony Orchestra since 2017 and joined the Tasmanian Symphony Orchestra in March.

Married with two young adult children, Warren now divides his time between Melbourne and Hobart.

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TSO Chorusmaster Warren Trevelyan-Jones.

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The TSO Chorus in concert with the Tasmanian Symphony Orchestra. Photo by Caleb Miller.

Warren, you have had an incredible career. Were you born into a life of music?

There was definitely nothing inevitable about how I started in music – my mother had a terrible upright piano and ours wasn’t a musical family. However, in my early years on our farm in Wales we had lodgers and the wife played the piano accordion. That sparked my interest.

My professional career started when a teacher at my school heard me sing a hymn and found me a gap-year job at a cathedral school. From there, I stepped into the cathedral choir tradition – it was completely foreign to me, but it absorbed me!

The Choir of Westminster Abbey is one of the most famous in the world. What was it like to sing with a renowned ensemble in such an iconic and historically significant space?

I sang in the choir at Westminster Abbey for nearly a decade, participating in state occasions such as the Queen Mother’s funeral. My children have the honour of being christened there, which is very special. The Abbey is a building of huge significance, not only as a place of worship but as a national symbol and a centre of cultural heritage. It has been pivotal to the narrative of British history and identity.

The Anglican choral tradition, which is so much a feature of cathedrals in the UK and Westminster Abbey in particular, is a remarkable cultural tradition that has been unbroken since at least the Middle Ages. It’s a remarkable community that extends far beyond its spiritual purpose, promoting musical excellence that supports and uplifts so many.

You have said that ‘everyone has a voice’. Why would you encourage people to take up singing – particularly with a choir?

Music has a unique power, probably more than anything else, to evoke a response and a reaction, particularly an emotional reaction.

Singing is especially relevant because it relies solely on the human body – you’re not using an external instrument; it’s you, your voice, and all your emotions.

Having a voice empowers people. It’s about enriching lives socially, emotionally, and health-wise.

What are you most proud of from your time as Head of Music at St James’ in Sydney?

St James is Sydney’s oldest church, and its first choir was made up of convicts who marched across the road in chains from Hyde Park Barracks. It’s had an amazing musical tradition that continues to flourish.

In addition to our regular choral services, we toured internationally, singing several times in Gallipoli, Singapore, in Westminster Abbey, Notre Dame in Paris before it burned down, and even in the Vatican; as well as every state of Australia.

St James has also played an important role in the commissioning of new music. The Church has always been a major patron of the arts, and nearly all Western choral music owes its existence to such church singing traditions.

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You are currently preparing the TSO Chorus for this year’s end of year concert, Bach’s Christmas Oratorio. What can the audience expect?

Johann Sebastian Bach is a complete genius and also the consummate church musician. In the early 1700s his job was to write music for every Sunday service.

His Christmas Oratorio takes us on a journey through the days of Christmas, opening with rousing timpani and trumpets. The first words are ‘Jauchzet, frohlocket!’ or ‘Shout for joy’ and it really is a special joyous celebration for all involved.

The music balances this celebration with serenity, the joyous trumpets and drums, and the woodwind evoking the pastoral scenes of the shepherds in their fields.

Click on the Chorus Fanatics button on our Concerts page to find out where and when you can see the TSO Chorus performing in 2025.

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Support your local creative industries this Christmas

25 November 2024. Written by Sally Glaetzer.

The festive season is well and truly upon us at the TSO, not least because of the excitement in the halls as we prepare for our concert finale for the year – Bach’s Christmas Oratorio.

The office banter has been dominated by plans for the staff Christmas party and the annual debate over best Christmas movie (Love Actually narrowly pips Die Hard in the straw poll among musos and staff).

Even the beautiful melodies emanating from the rehearsal rooms seem to have taken on a decidedly festive tone.

It’s natural then that the chatter has lately shifted to the topic of Christmas gift buying – a source of sheer joy for some TSO team members and a source of sheer dread for others.

With that in mind, we’ve assembled a festive gift guide to cater for those in both camps – one that embraces the spirit of giving while providing an antidote to the perils of consumerism.

Know someone who already has everything? Want to avoid simply giving more ‘stuff’? Looking for a way to shop that’s kinder to the planet? Read-on to discover how to wow your loved ones with gifts with extra meaning this year.

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Give a year of experiences

Our Customer Manager Cameron Bryer is perhaps the biggest Christmas fan at the TSO.

Having worked as a Santa photo assistant and performed backing vocals for the Brisbane Lord Mayor’s Christmas Carols, Cam is well qualified as our resident Yuletide expert.

‘I’ve always loved Christmas, it’s always full of fun and joy and – for me – Christmas is always about singing,’ Cam says.

Cam’s tip for Christmas gifting this year – a TSO concert package of course!

‘Another reason I love Christmas is that we get a lot of subscribers purchasing a season package for a friend or a loved one. I love hearing customers’ stories about their love of music and why they want to share that experience with someone else,’ Cam says.

How does it work?

Head to our packages page and select from one of our fixed packages or Create Your Own. The packages are fully flexible, so simply select three or more concerts across the year that you think the recipient may like and they can change it up later if needed.

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Shop local and support Tasmanian talent

There is a lot to be said for shopping in your local bookshop this Christmas. Aside from the very important benefit of free gift wrapping (Fullers and The Hobart Bookshop have particularly fetching paper), our Tassie book stores are also filled with exceptional writing by local authors.

We asked Andy Durkin from Petrarch’s Bookshop in Launceston for the books at the top of her gift list this Christmas.

‘We have been spoilt with choice with books released in 2024 from Tasmanian creatives. Here is a taste of just a few titles, but please visit us and we can match you to many more titles that celebrate Tasmania for all interests,’ Andy says.

Dusk by Robbie Arnott (pictured left, at Fullers) is amazing and I also recommend Undersong by Hilary Burden, The Escapades of Tribulation Johnson by Karen Brooks, The Chocolate Factory by Mary-Lou Stephens, and Wild Heart of Tasmania by Greg French,’ she says.

For younger readers, Andy suggests music-themed Rock Dogs by Sally Sutton and Purinina by Christina Booth.

'Another beautiful gift is Faeries of Tasmania Vol 2 Illustrations by Tasmanian author and illustrator Terry Whidborne,’ she adds.

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Surprise and delight with unique handmade objects

We’ve covered off on the experiential and the practical, but sometimes an object of beauty is what’s required. When that’s the case, why not ditch the factory-made for something made by hand?

Allanah Dopson of Hobart’s Handmark Gallery encourages gift-buyers to think outside the square when shopping for someone who’s hard to buy for, or who ‘has everything’.

Let’s face it, even the very youngest people in our lives probably don’t need another toy, so why not gift them an artwork they can treasure for a lifetime?

‘Artwork and handmade jewellery can be very affordable and make a unique gift that won’t be forgotten. If you can’t decide, a gift voucher is always an excellent choice,’ Allanah says.

‘Christmas is a great time to decide to give a gift that his handmade and made with love,’ she adds.

Also in Salamanca, head to Spacebar Gallery for quirky pieces by emerging creatives, or buy directly from the jewellery makers at State of Flux Workshop.

The gift shop at Launceston’s Queen Victoria Museum and Art Gallery (QVMAG) is a secret gem, offering free gift wrapping (yes, we’re obsessed) and a flat $10 postage fee. Look out for exquisite shell jewellery by Tasmanian Aboriginal artist Jeanette James, and greeting card sets, including this one featuring the photography of Olegas Truchanas.

The designedmade Makers Market is on again at Hobart Town Hall, from 6-8 December, featuring some of Tasmania’s best designers, artists and makers.

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Do you know someone who likes to be across the latest happenings in music, arts and culture? Keep them up to date while supporting arts journalism with a 12-month Limelight subscription.

The editorial team at Limelight has created a special offer for TSO supporters.

Use promo code TSO25 to save $10 on a 1 Year Print and Digital subscription and receive 11 issues and 12 months' digital access for $89.

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Launceston Airport partnership supports TSO activities across the north

15 November 2024.

A new partnership between the Tasmanian Symphony Orchestra and Launceston Airport will support a series of concerts, residencies, school visits and more across Tasmania’s north and north west.

As the TSO’s Presenting Partner for Northern Tasmania, Launceston Airport will help bring more TSO events to regional communities – including a public performance in the airport’s arrivals hall next year.

TSO Director of Development, Sarah Morrisby, says the partnership will help to fund the orchestra’s activities across northern Tasmania, including concerts and events, school visits and workshops, and performances for aged care residents.

‘As Presenting Partner – Northern Tasmania, Launceston Airport will help us to amplify our annual north and northwest program of residencies, school concert tours, workshops, masterclasses and concerts,’ Sarah says.

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TSO Development Director Sarah Morrisby, cellist Sophie Radke, violinist Miranda Carson, Chair of Launceston Airport Lorie Argus, CEO of Launceston Airport Shane O'Hare, Principal Viola Caleb Wright, Associate Concertmaster Ji Won Kim and Audience and Experience Director Peter Kilpatrick.

‘Each community across the north and north west has its own rich history of music making – Launceston is the state’s home of musical theatre, while Ulverstone, Latrobe and Burnie each have a thriving string music scene. And of course Longford is home to the TSO’s acclaimed chamber music series at Woolmers Estate,’ she says.

‘Together, Launceston Airport and the TSO look forward to playing a greater role in supporting these vibrant cultural hubs.’

Launceston Airport is on track for its busiest calendar year on record after welcoming more than 119,000 passengers through the terminal in October. More than 1.1 million passengers have travelled through the airport so far this year.

Details will soon be announced about the TSO Live Sessions concert at Launceston Airport.

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Violinist Clara-Jumi Kang on Tchaikovsky's 'unplayable' concerto

14 November 2024. Written by Sally Glaetzer.

Acclaimed violinist Clara-Jumi Kang is making her TSO debut, performing Tchaikovsky's famously challenging violin concerto. Extremely media shy, Clara-Jumi shares in this rare interview why Tchaikovsky's concerto is, for her, one of the most beloved and happy.

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Violinist Clara-Jumi Kang will perform with the Tasmanian Symphony Orchestra, on her 1702 'Thunis' Stradivarius violin.

Kang is thoughtful and softly spoken as she shares what she loves most about Tchaikovsky's one and only violin concerto.

‘It’s my first time here in Tasmania and I’m very much looking forward to playing the wonderful Tchaikovsky violin concerto. It’s a beautiful concerto, it’s one of the most beloved and probably one of the most happy violin concertos,' Clara-Jumi says.

'Tchaikovsky composed it in 1878 by the Geneva Lake in Switzerland and he was on a journey of discovery. In my personal opinion it was probably a happy moment in his life.'

While much loved today, the concerto was initially described as ‘unplayable’ by the violinist who was supposed to perform its premiere. It was eventually performed for the first time in December 1881 in Vienna.

‘Some parts of the concerto get easier with time, with experience, but yes it is very demanding,' Clara-Jumi says.

'But I think this work reminds me so much of Tchaikovsky’s ballets and it’s very uplifting. The spirit of this concerto, if you think of it as ballet music, it makes many things easier and not so demanding.'

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Violinist Clara-Jumi Kang.

Kang is an artist of exceptional talent. She started playing violin at age three and a year later enrolled as the youngest ever student at Germany’s Mannheim Musikhochschule.

She made her debut with Hamburg Symphony at the age of five and, at seven, won a scholarship to New York’s Julliard School of performing arts.

When she performs with the TSO in Hobart's Federation Concert Hall, there will be an extra star element on stage drawing the audience’s attention  - her violin.

Kang is performing on the 1702 'Thunis' Stradivarius, made by Antonio Stradivari, who is widely regarded as the greatest violin maker in history.

The 322-year-old instrument is one of only a handful of surviving violins made by Stradivari, which are still used regularly in performances.

When asked what she loves most about the violin, Kang hugs it lovingly.

‘I think it’s a wonderful instrument. It has a very deep and colourful palette,’ she says, with a look of absolute joy on her face.

Named after Parisian tenor Willy Thunis the 1702 'Thunis' Stradivari was owned in the early 1900s by Jeanette Ysaÿe, the pupil and wife of famous Belgian violinist and composer Eugène Ysaÿe.

South Korean car maker Kia Motors loaned the violin to Kang in 2023.

Limited tickets remain to see Clara-Jumi Kang perform with the TSO on 15 November 2024. The concert, conducted by TSO Chief Conductor and Artistic Director, Eivind Aadland, includes a world-premiere performance of work by up-and-coming Australian composer, Georgia Scott and Dvořák’s seventh symphony. Book now.

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Meet the Musicians: Principal Tuba, Rachel Kelly

13 November 2024. Interview by Sally Glaetzer.

Brisbane born musician Rachel Kelly was recently appointed as the TSO's Principal Tuba. In this Meet the Musicians interview, Rachel discusses overcoming 'imposter syndrome', defying outdated stereotypes and embracing her femininity on stage.

Rachel studied at the Queensland Conservatorium, where she was the winner of the 2020 Beta Sigma Phi Brass Prize and recipient of the Sir Samuel Griffith Scholarship. She was a student at the Australian National Academy of Music and, in 2022, was an inaugural participant in the Melbourne Symphony Orchestra Academy program.

She has played with the Melbourne Symphony Orchestra, Queensland Symphony Orchestra, Adelaide Symphony Orchestra, Auckland Philharmonia and as a soloist with the Queensland Conservatorium Orchestra and the TSO.

Now based in Hobart, Rachel regularly returns to Brisbane, where she plays with three-piece ensemble The Boxties.

Watch the ABC's national news article about Rachel's appointment to the TSO.

A young female musician holding a tuba, sitting alongside fellow musicians.
A female musician playing a tuba

Congratulations Rachel on your appointment as TSO Principal Tuba! Please tell us a little about your musical career.

I first started playing tuba in school. I was very lucky to grow up with access to music education through the Queensland state school music system and I was surrounded by many amazing teachers who inspired me to pursue music professionally. After high school I studied at the Queensland Conservatorium and then moved to Melbourne to study at the Australian National Academy of Music (ANAM). I was fortunate enough to land a short-term contract with TSO last year after a couple of years at ANAM. I ended up working with the TSO for around 9 months and then secured the job permanently after an audition earlier this year.

At 25, you’ve achieved a lot at a relatively young age. Is age something you think about?

I don’t think age is a hugely important factor. For me I think there was a lot of luck, good fortune and good timing that led me to be where I am today. The only thing I would say is that being a young and relatively inexperienced musician in a principal role has come with quite a bit of imposter syndrome to deal with, especially when I first started. But my fellow musicians at the TSO are so wonderful and such a friendly bunch of people that they really make me feel at ease.

Globally, tuba positions in orchestras are still largely dominated by men. How do you feel about helping to break down assumptions and stereotypes about tuba players?

In the tuba world, male players are definitely still in the majority, but it’s becoming far more common to see female tuba players. I’m far from being the only one - out of the seven full time orchestral tuba positions in Australia, three of us are women. I’ve definitely come up against some archaic ideologies over the years that playing the tuba isn’t ‘lady-like’ or that women lack the strength and size to play the instrument. But these ideas just aren’t true. I love being myself on stage and embracing my femininity which, as a result, may help break down these assumptions and stereotypes people have about tuba players.

Brass musicians on a stage, smiling and holding their instruments.

Rachel enjoys the camaraderie among TSO musicians, especially the low brass section, pictured here in Hobart's Federation Concert Hall.

What do you love most about the tuba?

For me, tuba is the instrument that is my vessel to sing. I like to think of myself as a musician first and tuba player second. It just so happens to be the instrument I am able to use to convey the things I want to say through music. I do however love the versatility and richness of the tuba sound. I love that it can provide the most incredible depth, warmth and power to the bottom of a chord in the orchestra, while also having the ability to play soaring melodies and be incredibly virtuosic.

Is there someone who has been a role model to you in your career?

I’ve had so many incredible role models throughout my career, but two people that come to mind are my dear friends Steph McCaw and Ashreya Ward. Steph and Ashreya began as my teachers in school but I continue to work with them to this day in an ensemble called The Boxties in Brisbane. They have been the most wonderful mentors to me, guiding me all the way from school until now and I have learnt so much from them as people and as the incredible musicians that they are.

What have been some of your favourite moments while performing with the TSO?

There have already been many highlights performing with the TSO. Some that come to mind include performing Sibelius 2 and Tchaikovsky 5 last year, both of which are pieces I absolutely adore. I’m so lucky to have the most amazing trombone section at the TSO to work with and I love working with them and playing as one organic organism, being swept up in the music we’re creating as an orchestra. It’s a really magical feeling.

What are your interests outside of work?

I’ve recently enjoyed getting back into dance classes. I used to dance when I was younger so it’s been so wonderful to come back to a hobby that I loved so much as a kid. I’ve been attending a tap and a jazz class at a dance studio here in Hobart, which has been a lot of fun.

How do you unwind after a big performance?

The TSO has a really nice culture of spending time with each other after a performance. Quite often a large majority of the musicians will stay back in the green room for a drink and a hang after a concert, which I find is a really nice way to unwind after a concert.

Visit our Concerts page for your chance to experience the TSO brass section in our Federation Concert Hall and Brass at St David's concert series.

Tasmanian Symphony Orchestra musicians performing a Tim Jones piece in the popular Brass at St David's concert series. 

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A musical journey across time exploring Tasmania's war time experiences

6 November 2024. Written by Caroline Sharpen.

This opinion piece first appeared in The Mercury on 6 November 2024.

Frederick Septimus Kelly was an Australian soldier of exceptional musical talent who wrote many of his compositions while serving on the frontlines of World War I, including the trenches at Gallipoli.

Kelly narrowly escaped death in Gallipoli and could sense that time was against him as he wrote his final piece - the Somme Lament - just two weeks before he was killed in the Battle of the Somme in 1916 aged just 35.

Kelly’s beautiful and haunting compositions were largely lost and forgotten until 2016, when a collaboration between the Australian War Memorial (AWM) cultural recovery program and the Tasmanian Symphony Orchestra (TSO) helped to bring his works to life through a recording and public performance.

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Australian soldier, musician and soldier Frederick Septimus Kelly.

The project was led by Canberra based musician Christopher Latham, who was artist in residence at the time with the AWM and who approached the TSO to record Kelly’s music for posterity.

Latham painstakingly revived Kelly’s songs and arranged them for orchestra from the soldier’s beautifully handwritten manuscripts, which somehow survived the devastation of war.

The recordings have since enjoyed air time on ABC Classic and the full album, Frederick Septimus Kelly – Orchestral Works by the Tasmanian Symphony Orchestra conducted Benjamin Northey, is available to stream on YouTube and Spotify.

Given the beauty of his music, we can only imagine the heights to which Kelly would have risen had he, like his music, survived.

We’re looking forward to sharing some of Kelly’s music with the Tasmanian public on November 10 when we join with the RSL to honour and commemorate the Hobart Cenotaph.

Our brass and percussion section, along with members of the TSO Chorus, will perform works by Kelly, and other composers to whom we turn to help us make sense of the human cost of war. When there are no words, music and symbolism hold us. They are what help us remember.

Unfortunately, there has been some confusion about this vigil, which is not a protest or rally or a political event. Rather, it is an opportunity to learn more about our Cenotaph and state war memorial – what it meant to the people of Tasmania when it was built after World War I; its symbolism and its cultural significance. It is a chance for all of us to honour and respect its enduring importance today – including its stark reminder of what happens when diplomacy fails.

Everyone is welcome to come along and enjoy the morning music and speakers, both of which will take the crowd on a journey through time with important music and historical facts, about not only the Cenotaph but the effect of conflict on Tasmanians since 1901.

TSO musicians will perform at a Cenotaph vigil from 10:30am on 10 November 2024. For more information visit www.facebook.com/RSLTasmaniaBranch

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News

Fostering the next generation of cultural leaders

4 November 2024.

The Australian Conducting Academy (ACA), led by the Tasmanian Symphony Orchestra, is a globally significant program supporting the next generation of orchestra conductors.

The ACA is a unique partnership between the TSO and Australia’s other state orchestras, the Sydney, Melbourne, Queensland, WA and Adelaide symphony orchestras.

When Australia’s borders closed during Covid, all professional companies were affected by the shortage of Australian conductors with the expertise to lead the nation’s orchestras and professional music ensembles.

TSO chief executive Caroline Sharpen says the pandemic highlighted Australia's overreliance on conductors from overseas. The situation prompted the TSO to reach out to its peer orchestras - the other five state symphony orchestras of Australia, as well as Orchestra Victoria, and the Auckland Philharmonia.

'We said "What would it look like if we created a program where each of us offered a module every year and gave a cohort of the best emerging conductors every conceivable experience on the podium in front of our orchestras?",' Caroline says. 'And that's what we did,' she adds.
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Australian Conducting Academy participants, from left to right, Carlo Antonioli, Nathaniel Griffiths, Leonard Weiss, Sam Weller and Ingrid Martin.

A conductor working with an orchestra.

Australian Conducting Academy participant Nathaniel Griffiths, with the Tasmanian Symphony Orchestra.

The nationalised Australian Conducting Academy commenced in 2022 enabled by a $2 million investment from the state orchestras and a start-up grant from The Ian Potter Foundation. Griffith University joined the partnership, providing a PhD candidate to evaluate and assess the program, and conductor Johannes Fritzsch came on board as course director.

Over a two year period,  participants – who are selected via a highly competitive audition process – work with each of the state symphony orchestras (TSO, QSO, SSO, MSO, ASO and WASO), Orchestra Victoria and Auckland Philharmonia.

This provides them with opportunities across all orchestral genres as well as opera and ballet, collaborations with contemporary artists and performing film scores to a live screening.

The ACA participants receive mentoring from the world’s leading conductors, including Eivind Aadland, Asher Fisch, Mark Wigglesworth, Donald Runnicles, and Simon Halsey.

In early November 2024, the TSO hosted the final training module for the five participants of the 2023-2024 ACA program, Carlo Antonioli (from NSW), Nathaniel Griffiths (Qld), Leonard Weiss (Vic), Sam Weller (originally from NSW and now based in Amsterdam) and Ingrid Martin (originally from Vic and now based in Auckland).

Meet Australia's rising stars of conducting

Sam Weller, 26, started his music career as a saxophone player, inspired by his parents’ love of classical music, which they played at loud volume on car trips. At 16 he conducted his high school orchestra’s performance of the William Tell Overture at the Sydney Opera House.

Now based in the Netherlands, Sam is currently working as a freelance conductor in Europe and Australia.

‘It’s really exciting when you get to the stage as a conductor. It's a high-pressure job in that you have to work really fast, don't have a lot of time, and you have to unite a large group of people,’ Sam says.

‘This training program has been incredibly valuable. It's not often that you get to meet so many different orchestras in one country, and have experienced conductors telling what we can improve on. It's helped me build a relationship with many of the Australian orchestras,’ he adds.

A young conductor receiving instruction from an experienced conductor.

Fellow ACA participant Ingrid Martin has worked with the MSO, QSO and TSO and is currently New Zealand assistant conductor-in-residence based in Auckland, working with three of New Zealand's orchestras.

In this ABC article, Ingrid describes the role of conductor as 'really the musical coach of a giant team of players'.

'Our job is to guide both the musicians and the audience on the musical journey that the composer has written for us,' she says.

'It takes a lot of humility, empathy, vulnerability and courage to put your personal stamp on the music because that's what the musicians really want, it's what inspires them.'
A conductor standing before a stage.

The TSO’s Director of Artistic Development Kim Waldock leads the ACA from Hobart, facilitating the partnership between the orchestras including the audition process, which is held in Adelaide.

‘Conducting cannot be learnt at university or through books – it is an experiential learning-by doing thing. The chance to work with Australia’s top orchestras and receive ongoing feedback from musicians who are invested in the process while learning on the job, is an opportunity second to none,’ Kim says.

‘When visiting international conductors come and guest mentor in the program and tell us there is nothing quite like it in the world – we can be sure we are on the right track. It is terrific that it is something all the Australian state orchestras feel so passionate about and the conductors are so lucky to be trained by many of the world’s leading conductors.’

As well as training in a broad range of musical genres, ACA participants receive mentoring in other aspects of cultural leadership, such as conflict resolution in orchestral settings; working with composers; working with indigenous artists; and working with dancers.

The participants for the next round of the ACA, for 2025-26, have been selected and will begin their training early next year under the leadership of incoming course director Benjamin Northey.

See young conductor Sam Weller in concert with the TSO in Obscura 2 | Electronica on 21 August 2025, with Hannah Solveij.

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