Digital Concert Program: Four Last Songs – Tasmanian Symphony Orchestra

Concert Program

Four Last Songs

Saturday 29 March 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

Looking for tickets? Go here.

Chief Conductor and Artistic

Director, Eivind Aadland, leads

the TSO and musicians from the

Australian National Academy of Music

in a performance featuring Australian

soprano Siobhan Stagg.

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.

How to use your Digital program

Housekeeping

We'd love for you to use this program in the concert hall following a few guidelines:

Dim your screen
Turn your phone on silent
Turn off your camera flash
Limit your time taking photos

If you need help with your digital program please chat to one of our friendly ushers.

Navigate

Scroll on to read the program or use the below buttons to skip ahead.

You can return to this section by clicking the "Return to Navigation →" hyperlink at the end of each program section.

First time at the orchestra?

Keep an eye out for our first-timer tips sprinkled throughout this program.

They'll look like this: 💡 FIRST-TIMER TIP

Questions & Tech Support

Chat with one of our friendly staff at the TSO Box Office.

We value your feedback

Let us know your thoughts and ideas on the new digital programs here.

About the concert

Works

Richard Strauss Don Juan, Op 20 (17 mins)

Ravel Daphnis and Chloé: Suite No 2 (18 mins)

3 movements

Lever du jour
Pantomime
Danse Générale

20 minute interval

Richard Strauss Vier letzte Lieder (Four Last Songs) (25 mins)

4 songs

Frühling (Spring)
September
Beim Schlafengehen (On Going to Sleep)
Im Abendrot (At Dusk)

Ravel Bolero (13 mins)

💡 FIRST-TIMER TIP

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.

Joseph Maurice Ravel.

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.

Flirty, fiery, a little reckless…

Don Juan, Op 20

Composed by Richard Strauss (1864 - 1949)

17 minutes

Don Juan is an exciting, dramatic piece of music written by Richard Strauss in 1888, when he was just 24 years old. It’s a tone poem (a type of orchestral music that tells a story purely through instruments) based on the story of Don Juan, one of the most famous characters in Western literature.

Don Juan is a fictional Spanish nobleman who’s bold, seductive, and never stays in one place – or with one woman – for too long. Listen out for sweeping melodies illustrating his passion and charm. Don Juan can’t keep up this fast life and he goes too far, killing a man. It varies from version to version, but usually someone of importance, like a commander or another nobleman.

Also listen for moments of longing and sadness, hinting that maybe Don Juan is searching for something deeper… and can’t find it. Then comes the moment of reckoning: a statue of the man Don Juan killed comes to life and gives him a chance to repent. Don Juan refuses in his classic arrogant way and is ultimately dragged to hell. Phew.

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 concerto opens with a broad, symphonic first movement that introduces a majestic and heroic theme. Then the violin enters. The soloist navigates fiery runs, double stops (where two notes are played simultaneously), and lyrical passages, culminating in a dramatic cadenza (meaning the soloists plays alone). The cadenza is often improvised, showing off the violin’s full expressive range. Listen out for woodwinds and horns, they frequently trade melodies with the violin.

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.

If the first movement is powerful, this one is peaceful, lyrical and deeply emotional. The orchestra begins with a beautiful melody played by the oboe (yes, the violin has to wait its turn!) setting the tone of what's to come. Listen for the violin’s long, lyrical phrases, moving between tender moments and quiet longing. Brahms gives the soloist space to breathe and express emotion freely, rather than demanding flashy virtuosity. This is the perfect movement to get lost in the music.

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.

We end with a lively dance-like finale with a strong Hungarian folk influence, and it’s quite the contrast! Brahms loved Hungarian music, and you can hear it in the bouncy, syncopated rhythms that make this movement feel full of life. You won’t want to take your eyes off James Ehnes in this movement. The soloist must execute quick string crossings, spiccato (bouncing bow), and tricky left-hand fingerwork.

Brahms gives us technical brilliance with a generous dose of joy in this finale.

Pure, ecstatic love

Daphnis and Chloé: Suite No 2

Lever du jour
Pantomime
Danse Générale

Composed by Maurice Ravel (1875 – 1937)

18 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!

Originally, Daphnis et Chloé was a full ballet written by the French composer Maurice Ravel in 1912. It's based on an ancient Greek love story – think shepherds, nymphs, and a little bit of magic.

But you don’t need to know the full ballet to enjoy it, because Ravel pulled out the very best music and turned it into a concert piece: his Suite No 2. This is what most orchestras play today. This suite comes from the final scene of the ballet. Daphnis and Chloé are foundlings raised by shepherds and as teenagers, they fall in love. Like all the best love stories there are obstacles they come between them: other love interests, pirates, kidnappings….

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 features soft, glowing music that sounds like the sun rising over a peaceful meadow. Chloé has just been rescued from pirates by the god Pan. Listen for birdsong flutes, rippling harp and soft chords. It builds slowly and luminously before the whole orchestra swells and the sun bursts over the horizon. Listen out for the harp and strings at the start, making everything feel dreamy and ethereal, and the subtle percussion as the sun rises.

Ich atmet’ einen linden Duft

I breathed a gentle fragrance

This movement is gentle and romantic. Daphis and Chloé are reunited! They perform a slow dance, expressing their love for each other and relief at being back together. There are no words, the music does the talking. Near the end, there's a rising sense of ecstasy, leading into the explosion of joy in the final movement.

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.

This movement is pure celebration. All our characters – Daphnis, Chloé, villagers, mythical creatures – come together to rejoice and honour the god Pan. How do they celebrate? They dance. Hard.
This movement is fast, festive and colourful. Ravel layers different rhythms and melodies on top of each other to create a swirling kaleidoscope of sound.

A gentle farewell

Vier letzte Lieder (Four Last Songs)

Frühling (Spring)
September
Beim Schlafengehen (On Going to Sleep)
Im Abendrot (At Dusk)

Composed by Richard Strauss (1864 - 1949)

25 minutes

Four Last Songs for soprano and orchestra by Richard Strauss are some of the most beautiful and moving pieces in all classical music. They’re reflective, radiant and deeply emotional.

The set of four songs are a gentle farewell to life, written at the end of Strauss’ own life in 1948, when he was 84 years old. He didn’t call them Four Last Songs, that title came about after he died. Each song sets a German poem that reflects on life coming to an end – not in a sad or tragic way, but with peace, beauty, and acceptance. They’re full of sunsets, falling leaves, quiet skies, birds flying – symbols of saying goodbye.

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!

This song sets the tone for the cycle, not with grief but with an appreciation for life. It feels like the moment spring bursts in after a long winter: sunlight through clouds, flowers opening, fresh air. Our guest soprano soloist, Siobhan Stagg, will sing long, lyrical lines with a nostalgic tone.

Ich atmet’ einen linden Duft

I breathed a gentle fragrance

The end of summer and beginning of Autumn is used here as a metaphor for the approach of death, or at least the end of a long chapter of life. But like in all of Strauss‘s Four Last Songs, there’s no fear – just a quiet acceptance. Listen out for the horns (Strauss’s favourite instrument), oboe and clarinet adding warmth to the sighing quality of the soprano’s vocals.

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 third song is often considered the emotional core of the cycle. It’s intimate, spiritual, and deeply moving, surrendering the burdens of life and gently passing into rest. The orchestra opens with an almost lullaby-like rhythm. One of the most famous moments of Four Last Songs is the violin solo. The violin soars upward, playing a long, arching melody full of light and tenderness – like the soul taking flight.

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 song is the quiet culmination of the cycle – spacious, serene, and full of deep acceptance. Two lovers stand together at sunset, reflecting on a life fully lived, as the music unfolds in glowing, unhurried phrases. The soprano sings with warmth and stillness, asking gently, “Is this, perhaps, death?”. One of the most profound moments is Strauss’s quotation of a theme from his earlier work Death and Transfiguration– a nod to his own musical past, now reimagined with peace and grace. The song ends not with a final chord, but with the music dissolving into silence, like a soul gently stepping beyond.

A hypnotic slow burn

Bolero

Composed by Maurice Ravel (1875 – 1937)

13 minutes

We end the evening with perhaps one of the most instantly recognisable pieces in classical music. You might have heard it anywhere from Torvill and Dean skating to it at the 1984 Winter Olympics, to Baz Luhrman’s 2001 film Moulin Rouge, or even used to comedic effect on Saturday Night Live.

Composed in 1928 by French composer Maurice Ravel as a ballet, he called it an ‘orchestral experiment’. He wanted to see what would happen if he kept the music mechanical and repetitive but used orchestration to create interest and momentum.

Ravel himself said, "It’s a piece that makes no attempt at musical development, but it's a crescendo from beginning to end."

Bolero is hypnotic and trance-like, with a snare drum heartbeat that never stops. Don’t worry though, you’ll be pulled from your trance with the iconic, explosive ending.

Enjoying the concert?

Rewatch all your favourite moments on TSO On Demand.

Streaming sixteen concerts from Federation Concert Hall, this is the full orchestra at its brilliant best.

Start Watching

Return to Navigation →

Musicians

Eivind Aadland

TSO Chief Conductor and and Artistic Director

Supported by Anonymous

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 the Far East 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.

Siobhan Stagg

Australian soprano

Supported by Anonymous

With her ‘angelic’ voice (Kölner Stadt Anzeiger) and ‘ethereal stage presence’ (Sydney Morning Herald), Australian soprano Siobhan Stagg has become one of the most sought-after lyric artists of her generation.

A member of Deutsche Oper Berlin’s ensemble from 2013-19, she sang roles from Pamina in Die Zauberflöte to Tytania in A Midsummer Nights’ Dream working alongside major stage directors and conductors.

Appearing on some of the most prestigious stages worldwide, Siobhan's successes include Cendrillon for the Lyric Opera of Chicago; Pamina and Susanna Le nozze di Figaro for Royal Opera House Covent Garden; Sophie Der Rosenkavalier at Deutsche Staatsoper Berlin and Opernhaus Zurich; Mélisande for Opera de Dijon and Victorian Opera; Gilda and Blonde for the Hamburgische Staatsoper and staged performances of Mozart’s Requiem at Festival d’Aix-en-Provence.

A prized concerts performer, recent seasons' highlights include concerts with Symphonieorchester des Bayerischen Rundfunks, London Symphony Orchestra, Wiener Symphoniker, Rundfunk-Sinfonieorchester Berlin, Gürzenich Orchester Köln, Cleveland Orchestra and many more.

Recognising her international achievements in the arts, Siobhan was awarded the Mildura Key to the City in 2023 and sits on the Board of the Dame Nellie Melba Opera Trust.

Siobhan Stagg's performance is supported by Metal Manufactures Pty Ltd.

Australian National Academy of Music

(ANAM)

Supported by Anonymous

The Australian National Academy of Music (ANAM) is an international, dynamic and outward-facing cultural institution, training and performance company, with a demonstrated commitment to engaging with its communities. It is internationally renowned as the only purely performance classical music training academy in Australia, and one of the few in the world.

ANAM has industry partnerships with over 20 organisations, including the Australian Chamber Orchestra, the Sydney, Tasmanian, Melbourne and West Australian Symphony Orchestras, the Auckland Philharmonia Orchestra, Musica Viva Australia, a range of national music and arts festivals, and internationally with the Berlin Philharmonic Orchestra, the Bavarian State Opera Orchestra (Munich), Mahler Chamber Orchestra (Berlin) and London’s Royal College of Music.

Alongside NIDA, the Australian Ballet School, NAISDA Dance College and other leading institutions, ANAM is a member of the Australian Government-funded Arts8 group of performing arts training organisations. The Arts8 are committed to providing the high level and intense studio-based training necessary to ensuring that the national performing arts sector has a pipeline of creative talent that will enable it to continue telling Australian stories for generations.

ANAM alumni are found in many of the world’s leading orchestras and ensembles, and ANAM’s intensive schedule brings together a global network of artists and performers who provide invaluable mentorship and guidance for emerging young musicians through public performances, in-residence masterclasses and other programs.

Find out more at anam.com.au.

Tonight’s orchestra

Eivind Aadland Conductor

James Ehnes Violin

Tasmanian Symphony Orchestra

Violin

Emma McGrath Concertmaster

Ji Won Kim Associate Concertmaster

Lucy Carrig-Jones Principal Second

Jennifer Owen Principal First

Adrian Biemmi *

Kirsty Bremner

Miranda Carson

Ian Chiao ^

Tobias Chisnall

Noah Coyne ^

Frances Davies

Sola Hughes ^

Michael Johnston

Elinor Lea

Susanna Low

Lachlan MacLaren ^

Xinyu Mannix

Phoebe Masel *

Christopher Nicholas

Miriam Niessl ^

Rohana O'Malley *

Lynette Rayner

Shannon Rhodes ^

Hayato Simpson

Hannah Tyrrell ^

Daisy Wong ^

💡 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 ^

Daniel Casey ^

Douglas Coghill *

Anna Larsen Roach *

Curtis Lau

Lachlan McKie ^

William Newbery *

Karina Schmitz

Daniel You ^

Cello

Jonathan Békés * Principal

Alexandra Békés

Ivan James

Nicholas McManus *

Jack Overall ^

Martin Penicka *

Sophie Radke

Max Wung ^

Double Bass

Stuart Thomson Principal

Aurora Henrich

Allan McBean ^

Matthew McGrath

James Menzies

Stuart Riley

Flute

Lily Bryant * Guest Principal

Maria Hincapie Duque

Braden Simm ^

Lloyd Hudson * Principal Piccolo

Oboe

Joshua De Graaf * Guest Principal

Joshua Webster ^

Alex Tsang ^ Oboe D’Amore

Dinah Woods Principal Cor Anglais

Clarinet

Andrew Seymour Principal

Karen Chen ^

Alex McCracken

Eloise Fisher Principal Bass Clarinet

Bassoon

Tahnee van Herk Principal

Tasman Compton *

William Hanna ^

Melissa Woodroffe * Principal Contrabassoon

Horn

Greg Stephens Principal First

Claudia Leggett * Principal Third

Madeleine Aarons ^

Jules Evans

Roger Jackson

Julian Leslie

Trumpet

Fletcher Cox * Principal

Mark Bain

Stephen Mosa'ati ^

Rosemary Turner

Trombone

David Robins Principal

Jackson Bankovic *

Max Gregg ^

Bass Trombone

James Littlewood * Guest Principal

Tuba

Rachel Kelly * Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Robert Allan

Steven Bryer ^

Caleb Goldsmith ^

Stephen Marskell

Jonathan Parker ^

Tracey Patten

Jamie Willson ^

Harp

Meriel Owen Guest Principal

Paul Nicolaou

Celeste

Karen Smithies Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price Guest Principal

Organ

Nathan Cox Guest Principal

Tonight’s orchestra

Musicians from the Australian National Academy of Music (ANAM) ^
Australian National Academy of Music (ANAM) Alum *

Chorus List

Warren Trevelyan-Jones Chorus Master

Karen Smithies Repetiteur

Soprano

Christine Boyce

Emma Bunzli

Christine Coombe

Felicity Gifford

Yuliana Hammond

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Sophia Mitchell

Schuya Murray

Shaunagh O’Neill

Joy Tattam

Lesley Wickham

Alto

Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Caroline Miller

Sally Mollison

Rosemary Rayfuse

Louise Rigozzi

Georgie Stilwell

Meg Tait

Gill von Bertouch

Beth Warren

Tenor

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Simon Milton

Dianne O’Toole

David Pitt

James Powell-Davie

Alexander Rodrigues

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Peter Cretan

Jack Delaney

Greg Foot

Sam Hindell

Reg Marron

Michael Muldoon

David Ovens

Tony Parker

Grant Taylor

*Correct at time of publishing

Return to Navigation →

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

💡 FIRST-TIMER TIP

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

Everything you need to know about Federation Concert Hall.

Find Out More

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.

💡 FIRST-TIMER TIP

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’

This image shows a conductor in a navy suit with an orange pocket square leads an orchestra with focused hand gestures, while a violinist with long, wavy blonde hair plays in the foreground. The setting is a formal concert performance with musicians in the background, all dressed in black and white attire.

Coming up

Beethoven’s Triple Concerto

Featuring TSO Concertmaster Emma McGrath on violin, TSO Principal Cello Jonathan Békés and pianist Konstantin Shamray and Otto Tausk conducts.

Mozart Symphony No 1 in E flat, K16
Beethoven Concerto for Violin, Cello and Piano in C, Op 56
Mozart Symphony No 41 in C, K551, ‘Jupiter’

Find Out More

Return to Navigation →

Our supporters

Whether sponsoring a musician in the orchestra, or supporting our invaluable community programs, so much of what we do relies on you. We offer our deepest thanks to all our Partners, Patrons and Friends.

Support the TSO and connect with our orchestra beyond the concert hall.

Donate Now

Huon Pine Patrons

John Cauchi AM & Catherine Walker Chair Patrons

Anne & Don Challen AM Chair Patrons

Dr Joanna de Burgh

Penny Le Couteur & Greg Dickson

Jane Drexler

Rob & Tricia Greenwell Chair Patrons

David & Catherine Hamilton Chair Patrons

Marie Heitz Chair Patron

In Memory of Ian Hicks Chair Patron

Patricia Leary Chair Patron

Ang Madden Chair Patron

Mountain Air Foundation

R H O'Connor

Andrew Parker & Caroline Sharpen Chair Patrons

TasPlates

Chris & John Sandow Chair Patrons

Dr Peter Stanton Chair Patron

Dr Hilary Wallace Chair Patron

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

David & Elizabeth de Burgh Chair Patrons

Marc & Susan Duldig Chair Patrons

Richard & Harriett England

Emeritus Prof Andrew Glenn & Dr Odile Glenn Chair Patrons

Elizabeth Haworth & John Diment Chair Patrons

Mr Don Kay

Belinda Kendall-White Chair Patron

Suzanne Kirkham

John Langford

Diane Matthews

Anthony G McGee AM Chair Patron

Louise & Tim Mooney AM Chair Patrons

Bruce Neill & Penny Clive Chair Patrons

Bill Oakley OAM Chair Patron

Jan & Alan Rees Chair Patrons

Dr David & Mrs Glenys Rich Chair Patrons

Dr John & Mrs Barbara Roberts

James and Jacqueline Roberts-Thomson Chair Patrons

Rotary Satellite Club of Sandy Bay, Battery Point

Margaret Sharpen Chair Patron

Dr Di Stow Chair Patron

Michelle Warren

Deirdre & Trevor Wise

Anonymous (3)

Leatherwood Patrons

Andrew Bennett

Suzanne & Martin Betts

Peter Brooks

Elizabeth Bugg

Janet Carding

George & Jan Casimaty

Dr Josh & Wendy Cocker

Prof Mike Coffin

Beth Coombe

Stephanie Cooper

Simon Coultas

Vicki Cowles & Josef Neuschwanger

Prof Stephen Crump

David Davey & Annick Ansselin

Roger Fisher

TJ Foster

Giameos Constructions & Developments

Dr Donald Hempton

Peter & Jeanne Hepburn

Janet Holmes à Court AC

Dr David & Donna Humphries

Don & Christine Jeffrey

Prof Matthew Jose

Paavo Jumppanen

Veronica Keach

Judith Ker

Betty Kuhl

Harvey Lennon

David Lloyd

Marilla Lowe

Linda & Martin Luther

Dr Katherine Marsden

Maggie McKerracher

Dominic McNamara

Caryl McQuestin

Sarah Morrisby

Alison Nadebaum

Jan Nicholas

Sindi O'Hara & Peter Pickett

Alison E Parsons

Helen Ross & Margaret Whiteside

Margaret Sallis

Deirdre Schoe

Dr Johannes Schonborn

Jenny Scott

Dick & Sue Shoobridge

Christopher Spiegel

Tony Stacey AM & Mrs Jeanette Stacey

In memory of Jo St Leon

Janet Tomlinson

Rowland Turner

Frances Underwood

John Usher OAM

Hank & Elizabeth van Herk

Kim Waldock

Jacqui Walkden

Dr Michael Wilkinson

Jane Zimmerman

Anonymous (10)

Blackwood Patrons

Simon Allston & Janeil Hall

Kim Boyer

Dr Nicholas Brodie

Jill Burbury

Jenny & Ian Burleigh

Victoria Burley

Roger Carrington

Dr Helen Chick

Gail Cork

Janet Crane

Amy Crosby

Jane Edmanson OAM

Ms Gail Friesen

Furneaux Arts Committee

Ms Keri Handley & Mr Frank Martin

Dr Brita Hansen & Frank Halley

Susie Harrison

Susan Hawick AM

Shirley Honeysett

Peter Hordern

Ross Kelly

Richard & Julia Metcalf

Margret Monks

Gisele O'Byrne AM

Tony Purdon

Rotary Club of Sandy Bay

Dr Tanya Stephens

Priscilla Travers

Jeanette Tremayne

Judith & Rod Tudball

Residents of Vaucluse Gardens

Judith Waldock

Jane Wilcox

Polly Woods

Dr Rosemary Yeoland

Anonymous (9)

Silver Wattle Patrons

Trevor & Barbara Abbott

Michael Alchin

Chris Andrews & Jill-Maree Geeves

Jennifer Andrews

May Backhouse

Dennis Bewsher

Jacqui Blowfield

Dixie Brodribb

Deborah Brook

Dobson Mitchell & Allport Lawyers

Sonia Finlay & John Millwood

John Heathcote & Mary Feeley

Sharron Hewer

Ann Hopkins

Peter Jarvis & Ans van Heijster

Louise Klein

William Lo

Sandra Michael

Jane Monaghan

Clare Morrisby

Dr Robyn Munro

Meriel Owen

Leone Paget

Dr Vicki Passlow

Ian Preston

James Puustinen

John Sexton

Elaine Tack

Grant & Elizabeth Taylor

Diane & Neville Truskett

Julian Type

Anonymous (11)

Government Support

Premier Partners

Partners

Partners

Return to Navigation →

Questions & Tech Support

Chat with one of our friendly staff at the TSO Box Office.

We value your feedback

Let us know your thoughts and ideas on the new digital programs here.