Thursday 2 Oct 2025 6pm
Odeon Theatre, Nipaluna / Hobart
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Dancers interpret live music
into movement. It’s pure body
language.
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
Works
Luciano Berio Sequenzas for solo instruments
5 sequenzas
- Sequenza VII for Oboe
- Sequenza XIV for Cello
- Sequenza I for Flute
- Sequenza V for Trombone
- Sequenza IXa for Clarinet
Graeme Murphy AO and Janet Vernon AM.
Uncover the stories behind Sequenza.
Graeme Murphy AO and Janet Vernon AM discuss the creative process.
A message from Graeme & Janet
Graeme Murphy AO and Janet Vernon AM
Ears on alert! Eyes on stalks!
Hearing Berio's Sequenzas on a recording is the equivalent of watching Gone with the Wind on an iPhone! The sonic world he generates in these five Sequenzas alone, is vast.
These compelling compositions that Berio continued to compose throughout his entire life, have united TSO musicians at the height of their artistry with young dancers from Queensland College of Dance (QCD) on the very cusp of their professional careers.
By seeing/hearing/feeling them live, we discover whole new sound-worlds where everything appears primal and unpremeditated.
Here we encounter new species of screaming birds in thermal ascendancy and unnamed/untamed beasts emitting guttural warnings - keep your distance!
By throwing human bodies into this world, we witness both musicians and dancers engaging in the eternal battle of the survival of the fittest and the finest.
Through the music's brutality and tenderness we have bonded in the extreme technical, physical and artistic challenges.
We reach out to you, dear audience, to thank you and we celebrate your curiosity and courage in joining us on this wild journey.
Working with Queensland College of Dance
Graeme Murphy AO and Janet Vernon AM
Over a year ago, we had our first experience working with Queensland College of Dance when we remounted sections from our Swan Lake and Berlin.
Teaching these existing works was a great introduction to the depth of talent among the ranks of the students.
This year we were honoured to choreograph five new pieces for both the Contemporary and Classical streams. We chose the music of Luciano Berio. His five Sequenzas challenged the professional attitude and physical prowess of the QCD students and gave us great confidence and optimism for the next generation of performers.
We have observed the dancers' mental and musical commitment to the choreographic process and their interest in working outside the sometimes limited musical preconceptions associated with ballet – our artform's evolution depends on both dancer and audience challenging this.
Our thanks to Founding Director, Rosanna Castellana and her QCD management who, we believe, are producing versatile, balanced professionals ready for the ever-increasing demands placed on today's dancers.
About the Sequenzas
Italian composer Luciano Berio (1925–2003) was one of the most original musical voices of the 20th century. Fascinated by language, virtuosity, and the personality of performers, he created the Sequenza series – a collection of solo works, each dedicated to a different instrument. Across the 14 Sequenzas (composed between 1958 and 2002), Berio invited players to stretch their instruments – and themselves – to new expressive limits .
The earliest, Sequenza I for flute (1958), revealed Berio’s interest in exploring sound beyond traditional melody. Its rapid runs, flutter-tonguing, and shifting dynamics pushed the flute into new territory and became a cornerstone of modern flute repertoire. A decade later, in Sequenza VII for oboe (1969), Berio experimented with resonance by sustaining a fixed background pitch against which the oboe line weaves – creating a shimmering play of colour and tension .
Theatricality is central to Sequenza V for trombone (1966), inspired by the Swiss clown Grock. Alongside dazzling technical demands, Berio asked the player to use vocal sounds and gestures, even speaking a word aloud, blending music with performance art .
With Sequenza IXa for clarinet (1980, later revised), Berio explored the clarinet’s wide expressive range, from whispering soft tones to virtuosic flourishes, often with a fluid, improvisatory feel. In Sequenza XIV for cello (2002), the last of the series, he combined lyrical melodies with rhythmic, percussive effects created by striking the body of the instrument – a final testament to his lifelong fascination with sound and gesture .
Though each Sequenza is unique, together they form a portrait of Berio’s restless imagination. They celebrate not only the instruments but also the performers, whose personalities shape each work. In doing so, Berio transformed the solo recital into an arena for drama, invention, and discovery.
Tackling the Sequenzas
Graeme Murphy AO
With all the Sequenzas, the overall feeling is that Berio is exploring the untapped possibilities of both instrument and player. So too my choreography explores the infinite possibilities of the human body and the space it ‘displaces’ – much in the way sound interacts with silence in music.
Choreographically the works are extremely varied – some pure dance, some highly theatrical, some humorous, some tragic but overall I aim to give the orchestral players and their instruments a powerful presence.
The whole aural/visual experience will, I hope, not be a sensory overload but facilitate the audience's journey into Berio’s amazing soundscapes, while giving insight into the talent and commitment of the brave humans who perform them.
Creatives & Cast
Creatives
Luciano Berio Composer
Graeme Murphy AO Choreographer
Janet Vernon AM Creative Associate
Damien Cooper Lighting
Bob Gardam Audio Engineer
Lee-Anne Ebert Costumes
Cast
Sequenza VII for Oboe
Rachel Bullen Oboe
Kyle Yeo, Abby Stone, Lillian Wright Dancers
Sequenza XIV for Cello
Jonathan Békés Cello
Mia Williams, Noah Hockey Dancers
Sequenza I for Flute
Lily Bryant Flute
Kyle Yeo Dancer
Sequenza V for Trombone
David Robins Trombone
Lillian Wright, Charlie King, Noah Hockey Dancers
Sequenza IXa for Clarinet
Andrew Seymour Clarinet
Abby Stone, Mia Williams, Lillian Wright, Kyle Yeo, Noah Hockey, Charlie King Dancers
*Correct at time of publishing
Odeon Theatre
Enter the Odeon and breathe in a tangible part of Hobart's story.
Built in 1916, the iconic theatre is an ever evolving cornerstone of live music in the heart of the city. Inspired by the latest New York theatre designs of its time, The Odeon retains a heritage feel, brightened by the influence of modern Hobart. At its core, The Odeon is a celebration of the arts and the community it fosters, inspiring new experiences in live music and performance.
💡 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.
Acknowledgements
GRAEME AND JANET WISH TO THANK
QUEENSLAND COLLEGE OF DANCE
Rosanna Castellana Founding Director
Tracey Carrodus Artistic Rehearsal Supervisor
Adam Robins Photography/Videography
Lee-Anne Ebert Costume Design
Deanna Castellana Head of Contemporary
Daniel Gaudiello Head of Classical Ballet
Adrian Burke Facilitator
and dancers Lillian Wright, Mia Williams, Kyle Yeo, Abby Stone, Noah Hockey, Charlie King, Sahara Bruce, Lian Martin
TASMANIAN SYMPHONY ORCHESTRA
Caroline Sharpen Chief Executive Officer
Simon Rogers Director Artistic Identity
Helentherese Good Artistic Operations Manager
Alethea Coombe Artistic Coordinator
Jacqui Walkden Director Operations
Emily Becker Orchestra Coordinator
Kayne Johnson Production Manager
Nicholas van den Enden Production Coordinator
Gavin Wolfe Production and Venue Assistant
Jonathan Békés Principal Cello
Lily Bryant Guest Principal Flute
Rachel Bullen Guest Principal Oboe
David Robins Principal Trombone
Andrew Seymour Principal Clarinet
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