Concert Program


Saturday 1 Jun 2024 7:30pm
Federation Concert Hall, nipaluna / Hobart

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Streaming live & playback via TSO On Demand

Conducted by Benjamin Northey,
featuring the TSO Chorus and soprano Stacey Alleaume.
Benjamin Northey conducting

The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.

About the concert


Lili Boulanger D’un matin de printemps (6 min)

Debussy Nocturnes (25 min)

3 movements:

  1. Nuages
  2. Fêtes
  3. Sirènes

20 minute interval

Ravel Pavane pour une infante défunte (6 min)

Poluenc Gloria (29 min)

6 movements:

  • Gloria
  • Laudamus te
  • Domine Deus
  • Domine Fili unigenite
  • Domine Deus, Agnus Dei
  • Qui sedes ad dexteram Patris


A 'movement' is a longer piece of music broken up into bite-size pieces. It makes it easier to perform and provides contrast within the work. Find out more here.

TSO Chorus

TSO Chorus performing with the Tasmanian Symphony Orchestra.

Concert 101: Learn about the works being performed

For the enjoyment of all in the concert hall, please only watch Concert 101 before or after the performance. 

Tonight’s Menu


D'un matin de printemps

Composed by Lili Boulanger (1893-1918)

6 minutes

Lili Boulanger (1893-1918), younger sister of the more famous Nadia Boulanger, was the first woman composer to win the prestigious Prix de Rome, awarded by the French Académie des Beaux-Arts. Composed in the last months of Boulanger’s life, D’un matin de printemps (Of a Spring Morning) exudes keenness and vitality. Superbly orchestrated, it stands as a monument to a major creative talent and raises the question of what might have been had Boulanger not died at the tragically young age of 24.



  1. Nuages
  2. Fêtes
  3. Sirènes

Composed by Claude Debussy (1862-1918)

25 minutes


The names of movements in symphonies often follow traditional conventions that give insight into the character, tempo, and sometimes the form of each section.

These terms not only instruct performers on the tempo and mood of each movement but also guide listeners through the emotional and narrative arc of the symphony. For example, ‘Allegro’ refers to tempo and ‘molto’ translates to very, so: very fast!

Claude Debussy was disdainful of the art history term ‘Impressionism’ as applied to his music, but it seems apt in the case of the Nocturnes of 1899, as they were inspired by paintings by James McNeill Whistler (not, strictly speaking, an Impressionist).

If you close your eyes, it’s not hard to imagine slow moving clouds in the opening movement, Nuages (Clouds), as this is music which appears to waft and float. A persistent (but undeveloped) melody played by the cor anglais merely adds to the vague, gauzy mood.

The clearly etched rhythms of Fêtes (Festivals) seem to present a sharper picture but here too Debussy’s primary concern is with instrumental tone colour and the sheer variety of sounds that can be coaxed from an orchestra – vibrant tones splashed across a canvas, as it were.

Sirènes (Sirens) brings a return to the diaphanous sound world of Nuages, but this time it is the sea, not the sky, which is evoked, with a wordless women’s chorusrepresenting the mythical creatures of the title.


Pavane pour une infante défunte

Composed by Maurice Ravel (1875-1937)

6 minutes

Originally composed for piano in 1899, the Pavane pour une infante défunte (Pavane for a Dead Princess) by Maurice Ravel was orchestrated in 1910. Don’t read too much into the title – Ravel was attracted to the sound qualities of the words ‘infante’ and ‘défunte’ in close proximity rather than a desire to conjure up images of departed royalty.

Listen out for the French horn at the start – it introduces the principal melody before it’s passed around the orchestra, picking up different tone colours along the way: flute, clarinet, oboe and finally, when it returns towards the end, in a truly magical moment, the violins.



Composed by Francis Poulenc (1899-1963)

  • Gloria
  • Laudamus te
  • Domine Deus
  • Domine Fili unigenite
  • Domine Deus, Agnus Dei
  • Qui sedes ad dexteram Patris

29 minutes

The Gloria by Francis Poulenc is a setting of the second part of the Ordinary of the Mass, Gloria in excelsis Deo (Glory to God in the highest). This overwhelmingly joyous text praises God the Father, acknowledges the Son of God as redeemer (Qui tollis peccata mundi/Who takes away the sins of the world) and, completing the Trinity, references the Holy Spirit (Sancto Spiritu) in the closing lines. Thus, in addition to being a song of praise, it spells out key aspects of Christian doctrine.

Some commentators have snootily dismissed Poulenc’s Gloria as insufficiently reverential (too many cocktail-hour chords, perhaps?) but the composer was a devout Catholic and there can be no doubt that the work was sincerely felt. And who can fail to be moved by the closing ‘Amen’?

Among Poulenc’s last works, the Gloria was premièred in Boston in 1961.

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Tasmanian Symphony Orchestra on stageEmma McGrath performing Chindamo.
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Benjamin Northey


Supported by Anonymous

Benjamin Northey, Conductor

Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and Principal Conductor, Artistic Advisor Learning and Engagement of the Melbourne Symphony Orchestra. From 2019-2023 he was the Principal Conductor in Residence of the Melbourne Symphony Orchestra having previously held the posts of Associate Conductor (2010-2019), Resident Guest Conductor of the Australia Pro Arte Chamber Orchestra (2002-2006) and Principal Guest Conductor of the Melbourne Chamber Orchestra (2007-2010). From 2025 he will Artistic Director of the Australian Conducting Academy, a national training program for Australian and New Zealand conductors.

Northey appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (La Bohème, Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and the State Opera South Australia (La Sonnambula, L’elisir d’amore, Les Contes d’Hoffmann) and Victorian Opera (Candide, Into the Woods).

His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the National Symphony Orchestra of Colombia, the Malaysian Philharmonic & the New Zealand Symphony Orchestra.

Highly regarded for the range of his work Northey has collaborated with major artists such as Maxim Vengerov, Anne Sofie von Otter, Pinchas Zukerman & Wynton Marsalis. He has also collaborated with great artists in many genres of music including Tim Minchin, Professor Brian Cox, Lalah Hathaway, Kurt Elling, Anoushka Shankar, James Morrison & Ben Folds.

An Aria Awards, Air Music Awards, and APRA/AMCOS Art Music Awards winner, Northey is highly active in the performance and recording of new Australian and New Zealand orchestral music having premiered dozens of major new works by contemporary composers. He has previously been a board member of the Australian Music Centre. He has been a driving force in the performance of orchestral music by Australian First Nations composers and performers. He has premiered multiple works of composers Deborah Cheetham and William Barton as well as collaborating with composer Paul Grabowsky and songmen Daniel and David Wilfred.

To read more about Benjamin Northey, click here.

Stacey Alleaume


Supported by Anonymous

Stacey Alleaume, Soprano

Australian-Mauritian Soprano Stacey Alleaume has established herself as one of Australia's most accomplished performers. Engagements include critically acclaimed Gilda Rigoletto with the Bregenzer Festspiele and Opera Australia, both house and role debut as Amina La Sonnambula with Deutsche Oper am Rhein, and Violetta Valéry La Traviata with Opera Australia, Opera Hong Kong, Teatro Petruzzelli and Welsh National Opera.

In Opera Australia she was seen as Violetta Valéry La Traviata both on the mainstage and Handa Opera on Sydney Harbour, Fiorilla Il Turco in Italia, Gilda Rigoletto, Susanna Le Nozze di Figaro, Micaëla Carmen, Leïla The Pearl Fishers, Sophie Werther, Pamina Die Zauberflöte.

Stacey features in the Netflix romantic comedy Falling for Figaro as the singing voice of Millie (Danielle Macdonald). Directed by Ben Lewin, the film was released internationally in 2021. In the same year Stacey released her debut album Moonlight Reflections on the Move Records Label.

On the concert stage, Stacey has performed works with the Tasmanian Symphony Orchestra, Adelaide Symphony Orchestra and the Melbourne Symphony Orchestra, notably Nielsen’s Symphony No. 3 under Maestro Sir Andrew Davis. She has appeared as a guest of Andrea Bocelli during his Australian concert tour in 2022.

Stacey is a graduate of the University of Melbourne and an alumna of the Music Academy of the West in Santa Barbara. She has been recognised with the prestigious AOAC Dame Joan Sutherland Scholarship for outstanding Australian operatic talent. Additionally, Stacey has achieved significant acclaim in vocal competitions, winning the 2009 Australian Youth Aria, 2011 New Zealand Aria, 2012 Sydney Eisteddfod Opera Scholarship and the 2013 Herald Sun Aria.

Her artistic development has been supported by scholarships from the Youth Music Foundation of Australia (2020), and The Melba Opera Trust (2010 & 2012).

Orchestra List

Benjamin Northey Conductor

Warren Trevelyan-Jones Chorusmaster

Stacey Alleaume soprano

Tasmanian Symphony Orchestra

TSO Chorus


Emma McGrath Concertmaster

Ji Won Kim Associate Concertmaster 

Lucy Carrig-Jones Principal Second

Jennifer Owen Principal First

Miranda Carson

Tobias Chisnall

Margaret Connolly

Frances Davies

Michael Johnston

Elinor Lea

Xinyu Mannix

Christopher Nicholas

Rohana O’Malley

Hayato Simpson



Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).

He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.


Caleb Wright Principal

Douglas Coghill

Anna Larsen Roach

Rodney McDonald

Ariel Postmus


Jonathan Békés Principal

Nicholas McManus

Martin Penicka

Sophie Radke

Double Bass

Stuart Thomson Principal

Matthew McGrath

Adrian Whitehall


Katie Zagorski Principal

Maria Hincapie Duque

Lily Bryant Guest Principal Piccolo


Eve Newsome Guest Principal

Alexandra King

Dinah Woods Principal Cor Anglais


Andrew Seymour Principal

Chris Tingay

Eloise Fisher Principal Bass Clarinet


Tahnee van Herk Principal

Evan Lewis

Simone Walters Guest Principal Contrabassoon

French Horn

Greg Stephens Principal First

Claudia Leggett Principal Third

Roger Jackson

Julian Leslie


Richard Blake Guest Principal

Mark Bain

Melanie Wilkinson


David Robins Principal

Jackson Bankovic

Bass Trombone

James Littlewood Guest Principal


Rachel Kelly Principal


Matthew Goddard Principal


Gary Wain Principal

Stephen Marskell


Meriel Owen Guest Principal

Carolyn Burgess


Jennifer Marten-Smith Guest Principal

TSO Chorus


Emma Bunzli

Christine Coombe

Yuliana Hammond

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Ashlyn Mackenzie

Sophia Mitchell

Schuya Murray

Christine Ovens

Chantal Roddy

Carolyn Seelen

Joy Tattam

Salome Tobin

Lesley Wickham


Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).

He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.


Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Mary McArthur

Caroline Miller

Sally Mollison

Amy Richardson

Louise Rigozzi

Meg Tait

Gill von Bertouch

Beth Warren


Helen Chicks

Phillip Clutterbuck

Michael Kregor

Tony Marshall

Simon Milton

Dianne O’Toole

David Pitt

James Powell-Davies

Alexander Rodrigues

Peter Tattam


Geoffrey Attwater

John Ballard

Timothy Begbie

Jack Delaney

Liam Filby

Greg Foot

Sam Hindell

Reg Marron

Liam McGuinness

Michael Muldoon

David Ovens

Tony Parker

*Correct at time of publishing

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Federation Concert Hall

Our Southern Home

Federation Concert Hall has been our home since 2001. It's distinctive curve, golden Tasmanian timber, contemporary design and deep red seats set the tone for the ultimate concert experience. 
In 2020, major acoustical enhancements were made to the hall, amplifying the venue's, and the TSO's, reputation as world-class. 

Photo credit: Fin Matson


A 'movement' is a longer piece of music broken up into bite-size pieces. It makes it easier to perform and provides contrast within the work. Find out more here.

Orchestra performing in Federation Concert Hall.

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Karin Schaupp

Coming up

Karin Schaupp

Guitar mastery, featuring Karin Schaupp.

Borodin Polovtsian Dances
Rodrigo Concierto de Aranjuez
Rimsky-Korsakov Scheherazade, Op 35

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TSO Concertmaster Emma McGrath plays an 1845 Jean-Baptiste Vuillaume violin on loan from two of our generous Tasmanian patrons.

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