Digital Concert Program: The Creation – Tasmanian Symphony Orchestra

Concert Program

The Creation

Friday 7 Nov 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

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Orchestra and chorus ignite

as Haydn’s Creation tells the

universe’s story.

Two women in black attire sing passionately in a choir performance, holding sheet music as they stand among other vocalists in a concert setting.

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.

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About the concert

Works

Joseph Haydn Die Schöpfung (The Creation) (109 mins)

Part I (Days 1-4)
Part II (Day 5)

20 minute interval

Part II (Day 6)
Part III (Adam and Eve in the Garden of Eden)

💡 Stabat Mater

Find the Latin text and translation here.

Joseph Haydn (1732 - 1809).

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.

Uncover the stories behind the works.

Joyful. Liminous. Transcendent.

Die Schöpfung (The Creation)

Composed by Joseph Haydn (1732–1809)

109 minutes

In his later years, Joseph Haydn (1732–1809) was celebrated across Europe as the ‘father of the symphony’ and ‘father of the string quartet.’ Yet when he was in his sixties, he turned his genius toward something even grander: an oratorio that would depict nothing less than the creation of the world itself. The Creation became one of his crowning achievements – a joyful, awe-inspiring celebration of life, nature, and divine order.

Haydn’s inspiration came during a visit to London in the 1790s, where he attended Handel’s great oratorios performed with large choirs and orchestras. Deeply moved, he returned to Vienna determined to write something equally powerful in his own voice. The text for The Creation was drawn from the Book of Genesis, the Book of Psalms, and Milton’s Paradise Lost, shaped into a libretto that alternates between narration, reflection, and bursts of choral praise.

The oratorio unfolds in three parts. Part I depicts chaos turning into light, and the separation of land, sea, and sky. The opening – marked Representation of Chaos – is one of Haydn’s most astonishing passages. Instead of beginning in clear harmony, the music wanders through unpredictable keys, evoking a world before order existed. When the choir finally sings, “Let there be light,” the sudden blaze of sound is breathtaking even today.

Part II introduces the creatures of earth – fish darting through the sea, birds soaring in the sky, and beasts roaming the land – each vividly painted in music. Haydn’s playful imagination shines: buzzing insects, roaring lions, and the mighty whale all find their place in his orchestral palette. The section concludes with the creation of humankind, and a majestic chorus praising the glory of God.

Part III moves to the Garden of Eden, where Adam and Eve sing of their happiness and gratitude. The tone here is more intimate and lyrical. Their duets express a pure, human love – tender and deeply sincere. The oratorio closes with a grand chorus rejoicing in the harmony of creation, a vision of balance between humanity, nature, and the divine.

Haydn’s Creation is not solemn or heavy-handed; it radiates optimism and wonder. Its composer was a devout man, but also one with a lively sense of humour and curiosity about the world. He once said that he wanted the listener to “become better and happier” after hearing it, and the music achieves exactly that.

At its premiere in Vienna in 1798, The Creation was greeted with rapturous applause. Haydn, then 66, had to be led to his seat but was overcome with emotion as the audience rose in tribute. More than two centuries later, the work still has the power to fill listeners with the same sense of light and life that inspired its creation.

Delicate. Fragile. Foreboding.

La Traviata, Prelude to Act I

Composed by Giuseppe Verdi (1813-1901)

4 minutes

💡 FIRST-TIMER TIP

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!

When La Traviata premiered in Venice in 1853, audiences were struck not only by the daring story but also by the unusual way Verdi chose to open the opera. Instead of a loud, grand overture, he wrote a brief and delicate prelude that immediately sets an intimate and emotional tone.

The music begins with the softest of sounds: high violins playing a fragile, trembling line. This melody symbolises Violetta, the heroine of the opera, whose life and love are overshadowed by illness. The transparency of the strings gives the impression of something almost weightless, as if Violetta’s presence might dissolve before our ears.

As the prelude unfolds, the mood warms, and the orchestra introduces a broader, more lyrical theme. This melody reflects the passion between Violetta and Alfredo, the young man she loves. The music grows in intensity, hinting at the joy of their relationship, yet even in its fullness there is a sense of fragility – the happiness is fleeting, clouded by the tragedy that lies ahead.

The prelude ends as quietly as it began, fading back into silence. In just a few minutes, Verdi gives us a musical portrait of the entire opera: love, beauty, passion, and inevitable loss.

This short opening is a perfect example of Verdi’s dramatic genius. Without a single word, he tells us everything about the world we are about to enter. The audience is invited not into a spectacle, but into the private, vulnerable heart of a woman whose story will move us to tears.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

The first movement bursts in with a bold orchestral fanfare — an unmistakable “here we go!”. The harpsichord soon joins with lively, bubbling figures that sound like a regency dance for Bridgerton - but rewritten in Paris between the wars.

Despite its nods to the past, this is not a textbook exercise in neoclassicism — the fad where composers deliberately wrote in old fashioned styles. Poulenc throws in unusual harmonic twists and abrupt tempo shifts, creating musical cliffhangers, and cheekily interrupting listener’s expectations. The piano darts and glitters, at times teasing the orchestra into action, at others straining to rise above its weight.

Ich atmet’ einen linden Duft

Ich atmet’ einen linden Duft!
Im Zimmer stand
Ein Zweig der Linde,
Ein Angebinde
Von lieber Hand.
Wie lieblich war der Lindenduft!
Wie lieblich ist der Lindenduft!
Das Lindenreis
Brachst du gelinde;
Ich atme leis
Im Duft der Linde
Der Liebe linden Duft.

I breathed a gentle fragrance

I breathed a gentle fragrance!
In the room stood,
A spray of lime,
A gift
From a dear hand.
How lovely the fragrance of lime was!
How lovely the fragrance of lime is!
The spray of lime
Was gently plucked by you;
Softly I breathe
In the fragrance of lime,
The gentle fragrance of love.

The second movement slows everything down. It’s in the style of a sicilienne — a lilting six-step folk dance with a gently rocking rhythm, often associated with pastoral scenes or nostalgic moods. Here, Poulenc gives us a slow, graceful melody that sounds like it’s half-remembered, hovering between innocence and sorrow.

It’s the emotional heart of the concerto. The piano plays elegant, delicate lines, sometimes echoing the orchestra, sometimes drifting apart like a private thought.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The final movement is a bright and brilliant dash to the finish line. Even when played on piano rather than harpsichord, it still keeps all its mischief, charm, and athletic flair. Right from the start, the music is lively and unpredictable - full of sudden turns, playful rhythms, and bursts of colour. The piano part leaps and skips across the keyboard, dashing through intricate runs and quick-fire patterns. It’s showy, but never heavy.

Lively. Eerie. Theatrical.

Macbeth, ballet music

Composed by Giuseppe Verdi (1813-1901)

10 minutes

When Giuseppe Verdi composed his opera Macbeth in 1847, it was one of the first times Shakespeare’s play had been brought to the operatic stage. Verdi was fascinated by the dark world of ambition, prophecy, and guilt, and his score is filled with dramatic intensity. Almost twenty years later, when the opera was revived in Paris in 1865, Verdi was asked to add a ballet – a standard expectation for French grand opera at the time.

The new ballet music appears in Act III, during the witches’ scene. Here, the supernatural powers tempt and taunt Macbeth, shaping his destiny. Verdi seizes the chance to create colourful and imaginative orchestral writing. The music is lively and rhythmically infectious, often built from dance forms, yet always tinged with an eerie edge. Graceful melodies are suddenly interrupted by unsettling harmonies, reminding us that these witches are both playful and dangerous.

What makes the Macbeth ballet music so engaging is the way it balances entertainment with atmosphere. On one hand, it provides spectacle – a burst of movement and energy that delighted Parisian audiences. On the other, it deepens the opera’s sense of mystery, highlighting the witches’ role in driving the story forward.

Although it is not often performed on its own, this ballet music shows Verdi’s ability to paint a scene vividly with purely instrumental forces. Even without voices or words, he conjures a world that is at once magical, sinister, and irresistibly theatrical.

Tender. Radiant. Devotional.

Stabat Mater

Composed by Gioachino Rossini (1792-1868)

62 minutes

Gioachino Rossini is best remembered for his dazzling operas, but his Stabat Mater shows a different side of his artistry. Written in the 1830s and completed in 1841, the work sets a 13th-century Latin hymn that describes the Virgin Mary’s grief as she stands at the foot of the cross. For centuries this text has inspired composers, but Rossini brings his own unmistakable voice – dramatic, lyrical, and full of colour.

The Stabat Mater has an unusual history. Rossini began the piece while travelling in Spain in 1831, composing six movements before ill health forced him to hand the remaining sections to a colleague. For years the work existed in this mixed form, but Rossini later returned to complete the music himself. The final version was first performed in Paris in 1842 and was immediately hailed as a triumph.

The score alternates between large, powerful movements for chorus and orchestra, and more intimate arias and ensembles for the four soloists. Listeners encounter music that shifts effortlessly between sacred solemnity and operatic intensity. At times the music is hushed and devotional, at other times it soars with passion, reflecting both the suffering and the hope contained in the text.

Rossini’s operatic background is never far from the surface – there are moments of theatrical flair, lyrical melodies, and dramatic contrasts that would not be out of place on the stage. Yet beneath the brilliance lies genuine feeling, a deep response to one of the most moving texts in the Christian tradition.

The Stabat Mater remains a unique achievement: a sacred work that combines heartfelt devotion with the expressive power of the theatre.

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Musicians

Eivind Aadland

TSO Chief Conductor & Artistic Director

Supported by Anonymous

Image credit Laura Oja.

Eivind Aadland is one of Norway’s most respected conductors. Since 2020 he has been Chief Conductor and Artistic Director of the Tasmanian Symphony Orchestra. He was Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra for seven seasons from 2004, during which time he conducted the complete Beethoven and Mahler symphony cycles. His extensive work with Scandinavian orchestras includes regular guest engagements with the Oslo and Bergen Philharmonics, the Stavanger Symphony, the Gothenburg Symphony and the Swedish Chamber Orchestra. In addition, he has conducted acclaimed productions of Don Giovanni, Le nozze di Figaro, Die Zauberflöte and Die Fledermaus for Den Norske Opera, Oslo.

He has also worked extensively in Asia and Australia. He is a frequent visitor to the WDR Symphony Orchestra Cologne, the National Orchestra of Belgium and Iceland Symphony Orchestra. He has also worked with Orchestre national du Capitole de Toulouse, Gürzenich-Orchester Cologne, Strasbourg Philharmonic, Lausanne and Scottish Chamber Orchestras and the symphony orchestras of Melbourne, Finnish Radio, Bamberg, Staatskapelle Weimar, SWR Stuttgart and Tokyo Metropolitan Symphony Orchestra. In addition to his career as a conductor, Eivind Aadland is a devoted collector of, and authority on, contemporary art. His private collection encompasses works in the diverse media of painting, photography, video and installation.

Samantha Clarke

Soprano

Australian/British soprano Samantha Clarke is the winner of the 2019 Guildhall Gold Medal and prize winner in the 2019 Grange International Festival Singing Competition. Samantha studied at the Royal Northern College of Music, as a Sir John Fisher Foundation and Independent Opera Scholar, under the tutelage of Mary Plazas.

Her operatic roles include: Violetta La traviata, Fiordiligi Cosi fan tutte, Helena A Midsummer Night’s Dream, Donna Elvira Don Giovanni, Pamina Die Zauberflöte, Countess Le Nozze di Figaro, Anne Trulove The Rake’s Progress, The Governess The Turn of the Screw and Theodora.

Recent and future engagements include Countess Le Nozze di Figaro at Garsington, Fiordiligi Cosi fan tutte with the Seiji Ozawa Music Academy in Japan, Grange Festival and Opera Queensland, Cleopatra Giulio Cesare and Theodora for Pinchgut Opera, Woglinde Das Rheingold, Marzelline Fidelio and Mendelssohn’s Midsummer Night’s Dream with the Sydney Symphony Orchestra and Simone Young, Violetta La traviata with Opera Australia and West Australian Opera, a US tour with the Monteverdi Choir and Orchestra, Messiah and War Requiem with the Melbourne Symphony Orchestra.

Michael Petruccelli

Tenor

Supported by Anonymous

Renowned for his “pure, glowing tenor,” Michael Petruccelli is one of Australia’s emerging operatic stars.

In 2024, he sang Septimus (Theodora) for Pinchgut Opera/Opera Australia and starred in Jonathan Mills’ new opera Eucalyptus for Victorian Opera (in Perth, Brisbane and Melbourne). 2025 appearances include Pirelli in Sweeney Todd and Ticon in Káťa Kabanová (Victorian Opera), Haydn’s Creation (Tasmanian Symphony Orchestra and Royal Melbourne Philharmonic) and Verdi’s Requiem (Festival of Voices Hobart).

Major appearances included Stephen Goldring (The Eighth Wonder), Pedro (Two Weddings, One Bride), Goro in Madama Butterfly. During his time at Oper Frankfurt, he performed The Italian Singer (Capriccio), Basilio/Don Curzio in Le nozze di Figaro, Lucio in Rossini's Otello, Graf von Lerma (Don Carlo), Voice of a Young Sailor in Tristan und Isolde and Le Remendado (Carmen).

An accomplished interpreter of contemporary Australian opera, Michael has appeared in productions including Richard Mills’ Galileo and Deborah Cheetham’s Parrwang Lifts the Sky with Victorian Opera, Voss with State Opera South Australia and Mary Finsterer’s Antarctica with Sydney Chamber Opera. On the concert platform, Michael has taken the tenor solos in Schubert’s Missa Brevis in G Major, Mozart’s Missa Brevis in D Major and Coronation Mass, Saint-Saëns’ Oratorio de Noël, Haydn’s Missa Sancti Nicolai and Bach’s Magnificat and St. Matthew Passion.

Morgan Pearse

Baritone

Supported by Anonymous

As one of the truly versatile and fearless baritones of his generation, Morgan Pearse has appeared on many of the world’s finest opera and concert stages in a career already filled with countless highlights.

These have included débuts in numerous title roles, such as Le nozze di Figaro at Opernhaus Zürich, The Barber of Seville at English National Opera and Don Giovanni at the Verbier Festival. In past seasons, Morgan has sung Theodora (Valens) and Tolomeo (Araspe) at the Karlsruhe Händelfestpiele, Le nozze di Figaro (Figaro) and Die Zauberflöte (Papageno) at the Badisches Staatstheater, Don Giovanni (Masetto) and L’elisir d’Amore (Belcore) for New Zealand Opera, the title role in Billy Budd for the Bolshoi Theatre, as well as Nero in Kaiser's Octavia and Almiro in Pasquini’s Idalma for the Innsbruck Festival of Early Music.

His concert engagements have included appearances with ensembles including the Academy of Ancient Music, London Philharmonic Orchestra, Israel Philharmonic Orchestra, King’s College Choir Cambridge, The Orchestra of the Age of Enlightenment, Netherlands Radio Philharmonic, The Philharmonia Orchestra, CBSO, English Chamber Orchestra, Gabrieli Consort, Australian String Quartet, the Australian Brandenburg Orchestra, Bournemouth Symphony Orchestra, Philharmonia Baroque Orchestra, RTVE Madrid and Russian National Orchestra.

Jeremy Kleeman

Bass Baritone

Supported by Anonymous

Winner of the Australian International Opera Award and Dame Heather Begg Memorial Award, Melbourne-born bass-baritone Jeremy Kleeman is a graduate of London’s Royal College of Music and a former Sambrook Scholar with Melba Opera Trust.

In 2025 he makes role debuts as Schaunard (La bohème) with Opera Queensland and Abimelech (Samson and Delilah) with Melbourne Opera, creates the role of Captain Gibb in Cassomenos and Gething’s new opera Eva for the Port Fairy Spring Music Festival, and appears as bass soloist in Rossini’s Stabat Mater with the Tasmanian and New Zealand Symphony Orchestras. Other concert engagements this year include Purcell’s Ode on St Cecilia’s Day at the Woodend Winter Arts Festival and Bach’s St John Passion with the Melbourne Bach Choir.

Last year Jeremy created the title role in Jack Symonds’ Gilgamesh for Opera Australia and Sydney Chamber Opera, praised for his “rich, effortlessly noble bass-baritone” (The Saturday Paper). A champion of new Australian opera, he has also originated roles in George Palmer’s Cloudstreet, Elliot Gyger’s Oscar and Lucinda, Calvin Bowman’s The Magic Pudding, and Curtis and Gow’s Voyage to the Moon.

Other recent highlights include Guglielmo (Così fan tutte) with Opera Queensland, Figaro (Le nozze di Figaro) with Opera Queensland, West Australian Opera, State Opera South Australia and Opera Australia’s National Tour, and Captain Corcoran (HMS Pinafore) with State Opera South Australia.

On the concert stage, Jeremy has sung Handel’s Messiah with the Tasmanian and Melbourne Symphony Orchestras, Nielsen’s Symphony No 3 and Rossini’s Petite messe solennelle with the MSO, and gala performances with the Queensland and Canberra Symphony Orchestras. Internationally, he has performed in Elgar’s The Apostles with the London Philharmonic Choir and Orchestra, with the London Handel Players at the Tilford Bach Festival, as Traveller in Britten’s Curlew River in Moscow, and in recital at Norway’s Northern Lights Festival.

Tonight’s orchestra

Eivind Aadland Conductor

James Ehnes Violin

Tasmanian Symphony Orchestra

Violin

Emma McGrath Concertmaster

Ji Won Kim Associate Concertmaster

Miranda Carson Principal Second

Tobias Chisnall Principal First

Frances Davies

Edwina George

Michael Johnston

Jos Jonker

Elinor Lea

Susanna Low

Xinyu Mannix

Christopher Nicholas

Rohana O'Malley

Hayato Simpson

💡 FIRST-TIMER TIP

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.

Viola

Caleb Wright Principal

Helena Burns

Ceridwen Davies

Anna Larsen Roach

Karina Schmitz

Cello

Jonathan Békés Principal

Ivan James

Nicholas McManus

Martin Penicka

Double Bass

Stuart Thomson Principal

Matthew McGrath

Stuart Riley

Flute

Lily Bryant Guest Principal

Maria Hincapie Duque

Lloyd Hudson Principal Piccolo

Oboe

Rachel Bullen Guest Principal

Dinah Woods Principal Cor Anglais

Clarinet

Andrew Seymour Principal

Eloise Fisher Principal Bass Clarinet

Bassoon

Tahnee van Herk Principal

Evan Lewis

Melissa Woodroffe Principal Contrabassoon

Horn

Greg Stephens Principal First

Roger Jackson

Trumpet

Fletcher Cox Principal

Mark Bain

Trombone

David Robins Principal

Christopher Thomson

Bass Trombone

James Littlewood Principal

Tuba

Rachel Kelly Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Stephen Marskell

Harp

Meriel Owen Guest Principal

Harpsichord

Nathan Cox Guest Principal

Piano

Karen Smithies Guest Principal

Celeste

Jennifer Marten-Smith Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price Guest Principal

Organ

Nathan Cox Guest Principal

TSO Chorus

Warren Trevelyan-Jones Chorus Master

Simon Halsey Chorus Master

Jennifer Marten-Smith Repetiteur

Soprano

Christine Boyce

Emma Bunzli

Christine Coombe

Ruth Croser

Felicity Gifford

Lauren Hill

Kasia Kozlowska

Olga Kraus

Bernadette Large

Loretta Lohberger

Schuya Murray

Christine Ovens

Susannah Rawlinson

Chantal Roddy

Carolyn Seelen

Joy Tattam

Lesley Wickham

Alto

Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Michelle Harris

Mary McArthur

Caroline Miller

Sally Mollison

Rosemary Rayfuse

Amy Richardson

Georgie Stilwell

Gillian von Bertouch

Beth Warren

Andrea Wild

Tenor

Ruben Burvenich

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Dianne O’Toole

David Pitt

James Powell-Davies

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Jack Delaney

Greg Foot

Peter Hepburn

Sam Hindell

Reg Marron

Michael Muldoon

Tony Parker

Philip Ridyard

Grant Taylor

Tane Thomas

*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

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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.

Getting THere & Accessibility

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Make it an experience

Hotel Offers from Hadley's Orient Hotel

Nestled among other architectural masterpieces in Hobart's city centre, this heritage-listed hotel plays host to almost two centuries of stories, scandals and secrets. The floor boards whisper of the hotel’s rich and often tumultuous history.

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What are acoustics and how do they affect my concert experience?

Acoustics are the science of sound, or the way a venue can deliver the thunderous feeling of strings and brass, or the ring of the triangle over all the other instruments.

Read more about the acoustics of the Hall here.

Coming up

Karen Gomyo

Sparks will fly, featuring Karen Gomyo.

Delius The Walk to the Paradise Garden
Dvořák Violin Concerto in A minor, Op 53
Robert Schumann Symphony No 1 in B-flat, Op 38, ‘Spring’

Coming up

Elgar’s Cello Concerto

Featuring cellist Daniel Müller-Schott, with TSO Chief Conductor Eivind Aadland.

Grieg In Autumn, Op 11
Elgar Cello Concerto in E minor, Op 85
Brahms Symphony No 2 in D, Op 73

Find Out More

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Patricia Leary Chair Patron

Penny Le Couteur & Greg Dickson

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Emma & Dom McNamara

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R H O'Connor

Andrew Parker & Caroline Sharpen Chair Patrons

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TasPlates

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Deirdre & Trevor Wise

Anonymous (2)

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

Sassafras Patrons

Cath Adams & Steve Craft Chair Patrons

Damian Bugg AM & Jenny Bugg

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Dr John & Mrs Barbara Roberts

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Rotary Satellite Club of Sandy Bay, Battery Point

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Anonymous (3)

Leatherwood Patrons

Andrew Bennett

Suzanne & Martin Betts

Peter Brooks

Elizabeth Bugg

Janet Carding

Helen Carrig

George & Jan Casimaty

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Emeritus Prof Stephen Crump

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Giameos Constructions & Developments

Mr Tony Hagar

Amelia Hagger

Ms Keri Handley & Mr Frank Martin

Susan Hawick AM

Dr Donald Hempton

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Janet Holmes à Court AC

Dr David & Donna Humphries

Don & Christine Jeffrey

Prof Matthew Jose

Paavo Jumppanen

Veronica Keach

Judith Ker

Yury Kudryavtsev

Betty Kuhl

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David Lloyd

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Linda & Martin Luther

Dr Katherine Marsden

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