Digital Concert Program: Joyce DiDonato – Gala Concert

Concert Program

Joyce DiDonato – Gala Concert

Saturday 15 Nov 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

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A rare opportunity to hear a

sublime voice live with your

orchestra.

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

J Strauss Die Fledermaus, Overture (9 mins)

Berlioz Les nuit d’eté, Op 7 (32 mins)

6 movements

Villanelle (Spring Song)
Le spectre de la rose (The Ghost of the Rose)
Sur les lagunes (On the Lagoons)
Absence
Au cimetière: Clair de lune (At the Cemetery: Moonlight)
L'île inconnue (The Unknown Island)

20 minute interval

Beethoven Symphony No 7 in A, Op 92 (39 mins)

4 movements

Poco sostenuto – Vivace)
Allegretto
Presto – Assai meno presto (trio)
Allegro con brio

💡 FIRST-TIMER TIP

Longer pieces of music are often broken up into bite-size pieces called ‘movements’. It makes it easier to perform and provides contrast within the work. Find out more here.

Eivind Aadland. TSO Chief Conductor and Artistic Director.

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.

Your Concert Experience

TASMANIAN Scent The Raconteur X Brand Tasmania

Introducing “Tasmanian” - a room fragrance created by perfumer, Craig Andrade, in collaboration with Brand Tasmania, that captures the essence of this beautiful island state and its unique native botanicals.

Eivind Aadland. TSO Chief Conductor and Artistic Director.

Uncover the stories behind the concert.

Sparkling. Witty. Exuberant.

Die Fledermaus, Overture

Composed by Johann Strauss II (1825–1899)

9 minutes

Few pieces capture the sparkle and sophistication of Vienna quite like Johann Strauss II’s Die Fledermaus Overture. Written in 1874, this effervescent curtain-raiser opens Strauss’s most popular operetta — a whirlwind of mistaken identities, disguises, and late-night laughter set against the glitter of a high-society ball.

From the very first bars, the overture bursts with life. Its bright fanfare quickly gives way to graceful waltzes and cheeky polkas that seem to wink at the listener. The music dances effortlessly from one melody to another, each tune brimming with charm and mischief. Even if you’ve never seen the operetta, you can sense the champagne bubbles rising and the laughter spreading through the ballroom.

Strauss was already celebrated as the ‘Waltz King’ when he wrote Die Fledermaus, and this overture shows him at his most brilliant. The melodies are irresistible, the rhythms sparkle, and the orchestration glows with the warmth of the Viennese tradition. Beneath the humour and lightness lies a composer of immense skill – every phrase perfectly balanced, every transition seamless.

The success of Die Fledermaus helped cement Strauss’s reputation across Europe, and the overture quickly became a concert favourite in its own right. More than a century later, its joyful energy still works its magic. For a few minutes, listeners are swept into a world of elegance, laughter and dancing – a world where, just as in Vienna’s golden age, life itself feels like a waltz.

Tender. Wistful. Radiant.

Les nuit d’eté, Op 7 (Summer Nights)

Villanelle (Spring Song)
Le spectre de la rose (The Ghost of the Rose)
Sur les lagunes (On the Lagoons)
Absence
Au cimetière: Clair de lune (At the Cemetery: Moonlight)
L'île inconnue (The Unknown Island)

Composed by Hector Berlioz (1803–1869)

32 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!

Hector Berlioz’s Les nuits d’été (Summer Nights) is one of the most beautiful song cycles of the Romantic era: six delicate, deeply felt songs about love, loss and longing. Written in the 1840s, it was the first orchestral song cycle ever composed, paving the way for later works by Mahler and Ravel.

The poems come from La comédie de la mort (The Comedy of Death) by Berlioz’s friend Théophile Gautier. Each song paints a vivid emotional picture: the freshness of young love, the ache of separation, the stillness of death, and the tender pull of memory. Though the songs are connected by a common theme of love and its passing, each stands as a self-contained miniature, full of colour and imagination.

The cycle begins with Villanelle, a joyful springtime song that celebrates two lovers wandering through the woods. Le spectre de la rose follows – a tender, dreamlike vision in which the spirit of a rose speaks to the young woman who once wore it. Sur les lagunes turns darker, a lament for a lost love sung over the restless waves. Absence is simple and heartfelt, expressing the pain of being apart. Au Cimetière (At the Cemetery) is hushed and mysterious, while the final song, L’île inconnue (The Unknown Island), returns to light – a bittersweet farewell filled with yearning and hope.

Berlioz originally wrote these songs for voice and piano, later orchestrating them with exquisite sensitivity. His orchestration glows with soft colours: flutes, strings and horns that never overpower the singer but instead seem to breathe with the words.

Les nuits d’été reveals Berlioz at his most intimate and poetic. In these songs, he captures the fleeting moods of love and time, like warm air drifting through a summer night.

This work, published by Bärenreiter Verlag, has been supplied by Clear Music Australia Pty Ltd as the exclusive hire agents in Australia.

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.

Rhythmic. Jubilant. Unstoppable.

Symphony No 7 in A, Op 92

Poco sostenuto – Vivace
Allegretto
Presto – Assai meno presto (trio)
Allegro con brio

Composed by Ludwig van Beethoven (1770–1827)

39 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!

Beethoven’s Seventh Symphony is one of the most thrilling and rhythmically charged works in all of classical music. First performed in Vienna in 1813, it was an instant success; audiences demanded that the second movement be repeated on the spot. From its first bars to its blazing finale, the symphony overflows with life, energy and unstoppable momentum.

It begins with a grand introduction, full of slow, noble chords that build anticipation before bursting into a joyful dance. Once the main rhythm starts, it never lets up – the entire first movement feels like an enormous celebration of motion. Beethoven uses repeating rhythmic patterns to create a sense of drive that seems almost physical, pulling listeners forward.

The second movement, marked Allegretto, is one of Beethoven’s most famous creations. Its steady, walking rhythm and solemn beauty give it a timeless, almost spiritual quality. Listeners often hear in it a sense of dignity, compassion, and quiet strength – qualities that made it a favourite in times of remembrance and reflection.

After the calm of the Allegretto, the third movement bursts in with laughter and high spirits. This Scherzo dances with exuberance, its quick rhythms and playful exchanges between orchestra sections showing Beethoven at his most joyful and inventive. The finale then races to the finish line: a whirlwind of energy and rhythm so powerful that composer Richard Wagner later called the entire symphony “the apotheosis of the dance.”

Beethoven wrote the Seventh Symphony at a time when his health was failing and he was almost completely deaf. Yet the music is anything but tragic. It’s full of vitality, joy, and forward motion – a triumphant reminder of the human spirit’s ability to find light, movement, and exhilaration even in struggle.

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.

Artisanal. Extraordinary. Luxurious.

TASMANIAN Scent

Hero’s: King Billy, Huon, Lemon Boronia
Heart: Kunzea, Peppermint Gum, Apple
Hosts: Blue Gum, Southern Rosalina

💡 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!

"I've been fortunate to collaborate with the Brand Tasmania team on designing a room fragrance that captures the essence of this beautiful island state I am fortunate to call home.

From Binalong Bay to Cape Grim, King Island to Bruny Island, the Tarkine to the Three Capes, Freycintet to Oatlands and literally everywhere in between, this is a spectacularly diverse island, but the highlight for me was undoubtedly the time I spent at Lake St Clare and the alpine region getting to know an extraordinary range of botanicals that are endemic to Tasmania.

King Billy and Huon pine are the hero's of this first fragrance l've created. They would have to be two of the most exquisite woods I have ever smelled - nothing like the classic pine - but more closely resembling Morocco's ancient Atlas Cedarwood.

Lemon Boronia (found in the Lake District) compliments the all-star lineup together with the more well known Kunzea, Mountain Pepper and Blue Gum. There's also an apple note, of course, to acknowledge the deep role this juicy fruit has played in the state's history and celebrate the role of our farmers in cultivating the land."

Craig - The Raconteur

Find out more about this collaboration.

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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.

Joyce DiDonato

Mezzo-soprano

Image credit: Salva López.

Multi Grammy Award winner Joyce DiDonato has towered to the top of the classical music industry as a performer, a producer, a teacher and a fierce advocate for the arts for years. With a repertoire spanning over four centuries, a varied and highly acclaimed discography, and industry-leading projects, her artistry has defined what it is to be a singer in the 21st century.

Recently having both opened and closed the Metropolitan Opera's 2023/24 season as Sister Helen in Dead Man Walking and Virginia Woolf in The Hours, Joyce also concluded her 3-year, 50-city tour of EDEN - a project that combined avirtuosic concert experience with dedicated educational work across 4 Continents. This season she reprises her heralded role of "Irene" in Theodora at the Teatro Real in Madrid.

Celebrated concert appearances continue with The Philadelphia Orchestra at Carnegie Hall, her debut with the Concertgebouw Orchestra, a European recital tour, a genre-bending Holiday tour with Kings Return, an intensive residency with the Dortmund Konzerthaus, and includes the recording of a new bold album around the poetry of Emily Dickinson, written by Kevin Puts.

This year Joyce receives the prestigious Concertgebouw Prize, only the 14th recipient in the legendary hall's history.

Tonight’s orchestra

Violin

Ji Won Kim Concertmaster

Miranda Carson Associate Concertmaster

Jennifer Owen Principal Second

Christopher Nicholas Principal First

Kirsty Bremner

Yue-Hong Cha

Tobias Chisnall

Margaret Connolly

Frances Davies

Michael Johnston

Christine Lawson

Elinor Lea

Susanna Low

Xinyu Mannix

Rohana O'Malley

💡 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

Douglas Coghill

Andrew Crothers

Anna Larsen Roach

William Newbery

Cello

Jonathan Békés Principal

Ivan James

Nicholas McManus

Martin Penicka

Double Bass

Stuart Thomson Principal

Aurora Henrich

Matthew McGrath

Flute

Alison Mitchell Guest Principal

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

Melissa Woodroffe Principal Contrabassoon

Horn

Greg Stephens Guest Principal First

Claudia Leggett Guest Principal Third

Roger Jackson

Hannes Kaukoranta

Trumpet

Fletcher Cox Principal

Mark Bain

Trombone

David Robins Principal

Jackson Bankovic

Bass Trombone

James Littlewood Principal

Tuba

Rachel Kelly Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Stephen Marskell

Drum Kit

Timothy Brigden Guest Principal

Harp

Meriel Owen Guest Principal

Keyboard

Jennifer Marten-Smith Guest Principal

Amanda Hodder Guest Principal

Guitar

Matthew Tzivakis Guest Principal

Bass Guitad

Jeremy Alsop Guest Principal

Piano

Jennifer Marten-Smith Guest Principal

Celeste

Jennifer Marten-Smith Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price Guest Principal

Organ

Christopher Wrench Guest Principal

*Correct at time of publishing

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Federation Concert Hall

Our Southern Home

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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.

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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

Christmas with the TSO

Featuring baritone Samuel Dundas and TSO Chorus, with Guy Noble, as conductor and host.

Program includes Jingle Bells, Hallelujah Chorus, The Nutcracker, Silent Night and more.

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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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