Concert Program
Saturday 11 Oct 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart
Looking for tickets? Go here.
Hundreds of voices. The best
of choral music. One
extraordinary sound.
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
Mozart The Marriage of Figaro: Overture (4 mins)
Handel Messiah (11 mins)
- And the Glory of the Lord
- For unto us a Child is Born
- Hallelujah Chorus
Haydn The Creation (13 mins)
- The Representation of Chaos
- The Heavens are Telling
- Achieved is the Glorious Work
Mozart Ave verum corpus, K618 (3 mins)
Mendelssohn Elijah, Op 70 (10 mins)
- Overture
- No 1: ‘Help, Lord!
- Recitative
Parry arr. Rutter I Was Glad When They Said Unto Me (6 mins)
Verdi Il Trovatore: Anvil Chorus (3 mins)
Verdi Nabucco: ‘Va, pensiero’ (4 mins)
Simon Halsey, conductor.
Uncover the stories behind the works.
Sparkling. Witty. Breathless.
The Marriage of Figaro: Overture
Composed by Wolfgang Amadeus Mozart (1756–1791)
4 minutes
Wolfgang Amadeus Mozart’s The Marriage of Figaro is one of the best-loved operas of all time, and its overture has taken on a life of its own in concert halls around the world. Composed in 1786, the overture sets the stage for an evening of comedy, romance, and intrigue. Even without the singers or scenery, the music gives us a taste of the opera’s spirit: full of energy, wit, and a touch of mischief.
From the very first notes, the overture is brisk and sparkling. The strings dart and dance with quick, light figures, suggesting characters hurrying in and out of rooms, keeping secrets, or hatching plots. Mozart’s opera tells the story of Figaro, a clever servant, who uses his wits to outsmart his employer, Count Almaviva, and ensure his own marriage goes ahead as planned. The overture doesn’t quote directly from the opera’s arias or ensembles, but it captures the mood of lively confusion and bubbling excitement that drives the story.
One of the most striking features of the overture is its sense of forward momentum. The music hardly pauses for breath, building suspense as though the curtain is about to rise at any moment. Gentle woodwind interludes add contrast, but they are quickly swept aside as the strings and full orchestra surge forward once again. The effect is exhilarating – a musical whirlwind that leaves listeners smiling and eager for more.
Mozart’s Figaro overture has become a concert favourite not only for its brilliance but also for its sheer joy. In just a few minutes, it encapsulates the sparkle, elegance, and humour of one of opera’s greatest comedies, reminding us of Mozart’s extraordinary gift for combining sophistication with light-hearted fun.
Majestic. Uplifting. Timeless.
Messiah
- And the Glory of the Lord
- For unto us a Child is Born
- Hallelujah Chorus
Composed by George Frideric Handel (1685–1759)
11 minutes
George Frideric Handel’s Messiah is one of the most beloved works in all of classical music. Written in just 24 days in 1741, this oratorio has become especially cherished at Christmas and Easter, when choirs and audiences gather to celebrate its stirring choruses and uplifting message. Rather than telling a single story, Messiah unfolds in three large sections that reflect on the life of Christ – from prophecy and birth, to passion and resurrection, to the promise of eternal life.
Among the most joyful moments comes early in the work with And the Glory of the Lord. This is the first chorus of Messiah, and it immediately establishes the sense of collective praise that defines the piece. Handel layers the voices in rich counterpoint, weaving together different musical ideas until the whole choir bursts into radiant sound, affirming the promise of God’s glory revealed to all people.
Another highlight is For unto us a Child is Born, which sets words from the prophet Isaiah. Handel gives the text a sense of warmth and grandeur, as voices tumble and intertwine in playful imitation before joining together in exultation. The music captures both the intimacy of a child’s birth and the majesty of the titles bestowed – ‘Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.’
The most famous moment of all, of course, is the Hallelujah Chorus. Positioned near the end of Part II, it celebrates Christ’s victory and eternal reign. The repeated cries of “Hallelujah” and the triumphant orchestral writing create a sense of overwhelming joy. Tradition holds that audiences stand when this chorus is performed – a gesture of respect that continues to this day.
Joyful. Radiant. Awe-inspiring.
The Creation
- The Representation of Chaos
- The Heavens are Telling
- Achieved is the Glorious Work
Composed by Franz Joseph Haydn (1732–1809)
13 minutes
Joseph Haydn’s The Creation is one of the crowning achievements of the Classical era, a radiant oratorio inspired by the Biblical story of creation. Written in the late 1790s after Haydn’s triumphant visits to London, the work reflects both his deep faith and his joy in nature’s beauty. Its music is full of invention, drama, and brilliance, qualities that captured the imagination of audiences from its very first performance.
The opening movement, The Representation of Chaos, is especially striking. At a time when most music followed clear rules and order, Haydn begins with something entirely different. The harmonies wander unpredictably, the rhythms are unsettled, and the mood shifts constantly. The effect is extraordinary: the orchestra paints a picture of a world before light, form, or structure – true chaos. When order finally arrives with the creation of light, the music bursts forth with blazing energy, a moment that still astonishes listeners.
Later in the oratorio, The Heavens are Telling brings the choir and orchestra together in a grand hymn of praise. The text comes from Psalm 19, celebrating the glory of God revealed in the skies. Haydn’s music sparkles with brightness, the voices entering in layers that echo the grandeur of the heavens themselves. This chorus has become one of the most beloved in the entire oratorio, a joyful proclamation of nature’s beauty and order.
The triumphant chorus Achieved is the Glorious Work comes near the end of Part II, after the creation of living creatures. Here, Haydn conveys a sense of completeness and satisfaction. The choir and orchestra sing together in a spirit of celebration, their jubilant sound affirming the wonder of creation now brought to life.
In these movements, Haydn shows not only his genius as a composer but also his ability to capture awe, joy, and gratitude in music that still resonates today.
Serene. Tender. Transcendent.
Ave verum corpus, K618
Composed by Wolfgang Amadeus Mozart (1756–1791)
3 minutes
Wolfgang Amadeus Mozart’s Ave verum corpus is one of the most serene and moving pieces he ever composed. Written in June 1791, just a few months before his death, the motet is set to a short Latin text dating back to the 14th century. The words are a meditation on the body of Christ, reflecting on his sacrifice and offering a prayer for mercy. Despite its brevity – the work lasts only about three minutes – Ave verum corpus is filled with quiet beauty and deep spiritual expression.
Mozart composed the piece in the small town of Baden, near Vienna, for his friend Anton Stoll, the local choirmaster. It was intended for use in a church service on the Feast of Corpus Christi. Unlike his larger sacred works such as the Great Mass in C minor or the unfinished Requiem, this motet is simple in design. Scored for choir, strings, and organ, the music unfolds gently, without virtuosic display. Its simplicity is its strength: every note seems carefully chosen to serve the words and their meaning.
The music begins with a calm, flowing melody that seems to breathe naturally, as if it were part of the liturgy itself. The harmonies are warm and tender, creating an atmosphere of reverence. As the choir sings of Christ’s suffering and the hope of eternal life, the music never becomes dramatic or theatrical; instead, it remains inward, devotional, and contemplative.
Many listeners hear in Ave verum corpus a kind of farewell, written as Mozart’s own life was drawing to a close. Yet rather than darkness or despair, the motet radiates peace, consolation, and trust. Its quiet perfection has made it one of the most cherished sacred works in the choral repertoire, a reminder of Mozart’s extraordinary gift for expressing profound emotion with grace and simplicity.
Dramatic. Powerful. Devotional.
Elijah, Op 70
- Overture
- No 1: ‘Help, Lord!
- Recitative
Composed by Felix Mendelssohn (1809–1847)
10 minutes
Felix Mendelssohn’s Elijah is one of the great 19th-century oratorios, a work that combines dramatic storytelling with deeply expressive music. First performed in Birmingham, England, in 1846, the oratorio tells the story of the Old Testament prophet Elijah — a man of fiery faith who confronts false gods, calls down storms, and wrestles with doubt. Mendelssohn admired Handel and Bach, and Elijah pays tribute to their tradition, yet it also bears the hallmarks of Mendelssohn’s own Romantic style: vivid orchestral colors, lyrical melodies, and powerful choral writing.
The work begins with an Overture that sets the scene before a single word is sung. Far from being light or decorative, the overture is sombre and foreboding. Low strings and winds paint a picture of drought and desolation — a musical image of a land suffering without rain. The mood is tense, preparing us for Elijah’s entrance and the weight of his prophecy.
Immediately after, the chorus cries out in “No. 1: Help, Lord!” This movement establishes the sense of collective urgency that drives the whole oratorio. The choir pleads for relief from hunger and thirst, their cries echoing the people of Israel in despair. Mendelssohn’s writing here is dramatic and heartfelt, the voices rising and falling in waves of anguish, underscored by the orchestra’s dark harmonies.
The Recitative that follows introduces the prophet himself. Elijah calls down the drought as a judgment on Israel’s faithlessness, his stern words delivered with authority. Mendelssohn gives the solo bass voice a commanding presence, supported by stark chords in the orchestra. This moment marks the prophet’s first appearance and sets in motion the great struggles of faith, doubt, and redemption that unfold throughout the oratorio.
Together, these opening movements plunge listeners into a world of drama and intensity, showing how Mendelssohn transformed sacred text into living, emotionally gripping music.
Majestic. Jubilant. Reverent.
I Was Glad When They Said Unto Me
Composed by Sir Charles Hubart Hastings Parry (1848–1918) arranged by John Rutter (b. 1945)
6 minutes
Charles Hubert Hastings Parry’s I Was Glad When They Said Unto Me is one of the most celebrated works of the English choral tradition. Written in 1902 for the coronation of King Edward VII, it sets verses from Psalm 122, a text long associated with worship, joy, and the life of Jerusalem. Parry was a central figure in the late Victorian musical revival in Britain, admired for his ability to combine grandeur with heartfelt sincerity. This anthem has since become closely tied to royal and state occasions, performed at nearly every British coronation since Edward VII.
The piece begins with a majestic orchestral and organ introduction before the choir enters with the words “I was glad when they said unto me: we will go into the house of the Lord.” Parry’s setting is radiant and full of energy, immediately capturing the sense of anticipation and joy in gathering for worship. The music grows in richness as voices interweave, creating a glorious choral tapestry.
One of the distinctive features of the work is the use of “Vivats” – acclamations traditionally sung by the King’s Scholars of Westminster School. These jubilant shouts of “Vivat Rex” or “Vivat Regina” (“Long live the King/Queen”) add to the ceremonial splendour. Parry’s setting allows these cries to ring out above the choir and orchestra, heightening the sense of festivity.
Throughout the piece, Parry balances noble grandeur with passages of warmth and reflection, especially in the middle section where the music turns inward on the words “O pray for the peace of Jerusalem.” This contrast deepens the anthem’s emotional impact, moving from reverence to triumph.
I Was Glad has endured as a symbol of national celebration, but beyond its ceremonial associations, it remains a powerful and uplifting piece of sacred music that continues to inspire choirs and audiences alike.
Rhythmic. Fiery. Exuberant.
Il trovatore: Anvil Chorus
Composed by Giuseppe Verdi (1813–1901)
3 minutes
Giuseppe Verdi’s Il trovatore (The Troubadour), first performed in 1853, is one of his most dramatic and popular operas. Among its many highlights, none is more famous than the Anvil Chorus, which opens Act II. Officially titled “Vedi! le fosche notturne spoglie” (“See! the sombre veil of night”), this rousing number has become a favourite in the concert hall as well as on the operatic stage.
The chorus is sung by a band of gypsies at daybreak as they begin their morning work. With hammers striking real anvils on stage, Verdi creates a vivid sound world that captures the energy of labour and the vitality of the community. The men sing of the sun rising and life beginning anew, while the women join in with verses celebrating wine as a source of joy and renewal. The pounding of the anvils, the rhythmic drive of the orchestra, and the bold vocal lines combine to create music that is both earthy and exhilarating.
Verdi was a master of writing choruses that were more than just background. In his operas, the chorus often represents the spirit of a people, giving voice to collective emotions. In the Anvil Chorus, the gypsy community comes alive, full of colour, strength, and humanity. The sheer vitality of the music makes it one of the most memorable choruses in all opera.
Beyond the opera, the Anvil Chorus has taken on a life of its own. Its infectious rhythms and blazing orchestration have made it a favourite for concert performances, recordings, and even popular culture references. It is a perfect example of Verdi’s gift for writing music that is immediate, powerful, and unforgettable – a stirring burst of sound that never fails to thrill audiences.
Rhythmic. Fiery. Exuberant.
Nabucco: ‘Va, pensiero’
Composed by Giuseppe Verdi (1813–1901)
4 minutes
Giuseppe Verdi’s Nabucco premiered at La Scala in 1842 and propelled the young composer to fame. Its best-known moment is the chorus “Va, pensiero, sull’ali dorate” – often called the Chorus of the Hebrew Slaves. It appears in Act III as the Israelites, exiled in Babylon, remember their homeland and dream of freedom. The poetry by Temistocle Solera speaks of golden wings, gentle breezes and the ruined banks of the Jordan – images that turn collective sorrow into a tender, dignified song of hope.
Musically, “Va, pensiero” is disarmingly simple and perfectly shaped. The choir moves mostly together in rich, homophonic harmony, carried by a gentle, rocking accompaniment. The melody arches in long phrases that invite the singers – and the audience – to breathe as one. Verdi avoids theatrical fireworks here; instead, he writes with restraint and warmth, letting the natural rise and fall of the tune do the expressive work. Each return of the refrain deepens the feeling, building from hush to radiant fullness without ever losing its poise.
The chorus swiftly took on a life beyond the opera house. In 19th-century Italy it became a symbol of national longing during the Risorgimento – the movement for unification and independence. Audiences demanded encores, and at Verdi’s funeral in 1901 thousands lined the streets as “Va, pensiero” was sung in tribute. Although it was never Italy’s national anthem, it remains an unofficial hymn of solace and solidarity.
Today “Va, pensiero” continues to resonate wherever people confront exile, loss or displacement. Its power lies in how gently it speaks: not with anger, but with shared memory and quiet courage. In just a few minutes, Verdi gives us music that consoles, unites and lifts the spirit – a chorus that feels timeless in its humanity.
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Musicians
Simon Halsey
Conductor
Simon Halsey is a trusted advisor on choral singing to orchestras and conductors worldwide. He was recently appointed Artistic Advisor and Choral Director of the Oslo Philharmonic, and holds positions as Principal Guest Conductor and Choral Ambassador of Orfeó Català, Chorus Director of City of Birmingham Symphony Orchestra Choruses, Principal Guest Conductor at WDR Rundfunkchor, Conductor Laureate of Rundfunkchor Berlin, and Choral Director Emeritus of London Symphony Orchestra and Chorus.
In 2025/26, Halsey will prepare the Prague Philharmonic Choir for performances of Dallapiccola’s Il Prigioniero with the Czech Philharmonic under the baton of Antonio Pappano, and the Chœur de Radio France in Britten’s War Requiem alongside the Orchestre Philharmonique de Radio France with Mirga Grazynte-Tyla. He also returns to lead several collaborative choral weeks with the Tasmanian Symphony Orchestra, a long-term collaborator. Highlights from his titled positions this season include Ravel’s Daphnis et Chloé suite with the Oslo Philharmonic and Kazuki Yamada, Elgar’s The Dream of Gerontius with the CBSO, also with Yamada, Mahler 3 with Joyce DiDonato, the Berlin Rundfunkchor, and Berlin Philharmonic under the direction of Yannick Nézet-Séguin, and performances of the Human Requiem with Orféo Català.
Halsey’s numerous awards include three Grammys for his recordings with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen’s Medal for Music in 2014, and received the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany. His work is the subject of the documentary film Unsere Herzen – EiNn Klang (Our Hearts – One Sound), which was released in September 2022 .
Born in London, Simon Halsey sang in the choirs of New College, Oxford and King’s College, Cambridge, and studied conducting at the Royal College of Music in London .
Tonight’s orchestra
Violin
Ji Won Kim Concertmaster
Yue-Hong Cha Associate Concertmaster
Jennifer Owen Principal Second
Hayato Simpson Principal First
Kirsty Bremner
Miranda Carson
Tobias Chisnall
Frances Davies
Michael Johnston
Elinor Lea
Susanna Low
Phoebe Masel
Christopher Nicholas
Rohana O'Malley
Viola
Caleb Wright Principal
Katharine Brockman
Sandra Ionescu
Anna Larsen Roach
William Newbery
Cello
Martin Penicka Guest Principal
Ivan James
Nicholas McManus
Sophie Radke
Double Bass
Stuart Thomson Principal
Luca Arcaro
Matthew McGrath
Flute
Lily Bryant 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
Claudia Leggett Guest Principal First
Jules Evans Guest Principal Third
Roger Jackson
Hannes Kaukoranta
Trumpet
Fletcher Cox Principal
Mark Bain
Melanie Wilkinson
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
Tracey Patten
Harp
Meriel Owen Guest Principal
Organ
Christopher Wrench Guest Principal
TSO Chorus
Soprano
Emma Bunzli
Christine Coombe
Ruth Croser
Felicity Gifford
Lauren Hill
Kasia Kozlowska
Bernadette Large
Erin Murphy
Schuya Murray
Christine Ovens
Chantal Roddy
Lesley Wickham
Alto
Claire Blichfeldt
Carmelita Coen
Naomi Cooper
Elizabeth Eden
Wiebke Halsey
Mary Harwood
Mary McArthur
Caroline Miller
Sally Mollison
Rosemary Rayfuse
Georgie Stilwell
Gillian von Bertouch
Beth Warren
Andrea Wild
Tenor
Helen Chick
Phillip Clutterbuck
Michael Kregor
Bill MacDonald
Tony Marshall
Dianne O’Toole
David Pitt
James Powell-Davies
Bass
Geoffrey Attwater
John Ballard
Tim Begbie
Roy Classey
Peter Cretan
Jack Delaney
Liam Filby
Reg Marron
David Ovens
Tony Parker
Philip Ridyard
Tane Thomas
Voices en Masse 2025 Community Choir
Joanna Adamson
Karen Alexander
Simon Allston
Melissa Austwick
Janet Bagnall
Helen Bamford
Reg Barrett
Susan Barrett
Dorothy Baucza
Caroline Beasley
Rosina Beaumont
Rejane Belanger
Sue Bennett
John Berwick
Andrew Birt
Anne Birt
Judy Bishop
Malcolm Bishop
Robyn Blainey
Judith Blayden
Belinda Blekemore
Karen Blood
Helen Bonney
John Bonney
Wendy Bowler
Cindy Brazendale
Matthew Bretherton
Lynne Brothers
Tessa Bryan
Yvonne Buckley
Diana Burrage
Janet Butler
Margaret Bywater
Mary-Louise Callaghan
Betty Campbell
Christine Campbell
Hilary Cane
Gillian Cannell
Louise Carnell
Denise Chapman
Alastair Christie
Jennie Churchill
Daniel Comarmond
Marie Connett
Barbara Courtney
Angela Craze
Philip Crenigan
Beryl Cross
June Cunningham
Lisa Cutfield
Sabina Czarnojanczyk
Alison Darbyshire
Suzy Dempster
Virginia Dickason
Ange Dixon
Helen Douglas
Barbara Edwards
Jill Edwards
Marie Ellison
Lois Evans
Jackie Foale
Allison Foster
Sarah Freeman
Catherine Garde
Mary Garland
Therese Gilfedder
Erin Gleeson
Jandy Godfrey
Jean Gray
John Gray
Elizabeth Green
Kylie Grima
Pam Grimes
Gillian Groom
Karina Halys
Paul Hammond
Meredith Hams
Siobhan Hannigan
Sarah Hargrave
Jacky Hartnett
Kathryn Haskard
Elizabeth Haworth
John Hayton
Mary Heferen-Faulkner
Brittany Henderson
Dawn Hendrick
Kelly Hicks
Margaret Hiney
Ann Hobbs
Grace Honeyman
Stephanie Howe
Elizabeth Hughes
Sam Huynh
Liz Irving
Rufina Ismail
Petrina Jahnz
Melinda Jefferson
Katrina Jenns
Eraine Johnston
Anna Jones
Ann Kearon
Liz Keogh
Farida Khawaja
Rosemary Knight
Veronica Lambert
Jennifer Lambeth
Jordana Lory
June Lory
Annegret Ludwig
Alison Mahoney
Lorraine Mars
Justin Marshall
Jo Matthews
Summa McIntyre
Nicolette McKibben
Becky McLoughlin
Sindy Mills
David Monck
Linelle Morrison
Allan Morse
Carol Moss
Jill Mulcahy
Madelyn Munday
Jill Nash
Susan Newman
Elizabeth Oakley
Jeremy O'Reilly
Jill Parker
Margaret Parr
Jenny Platt
Agus Prajogo
Sandra Pullen
Kathryn Ragless
Lili Raintree
Betty Reeve
Siobhan Reid
Patricia Reimers
Bruce Rhind
Erin Riley
Maria Rolls
Rick Rolls
Aimee Rowell
Felicity Saunders
Mavis Sayer
Ludovic Schmidt
Cat Schofield
Gerry Scott
Diana Sharpe
Caitlin Sharpin
Janet Shaw
Mike Shegog
Ruth Shegog
Lyndel Short
Ian Smith
Paul Smith
David Stanton
Ann Stark
Hannah Sun
Cec Sutton
Sim Taylor
Jill Thiele
Fran Tilley
Stan Tilley
Daphne Toombs
Michael Tooth
Sue Tooth
Jo Topp
Anne Travers
Catherine Ubrihien
Frances Underwood
Malcolm Vernon
Heather Viney
Gudrun Wells
Marney Wickham
Bethany Wilkinson
Sharon Wilkinson
Michelle Williams
David Williamson
Elisabeth Wilson
Pamela Windsor
Gillian Wood
Tamara Wood
Christine Wright
*Correct at time of publishing
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Coming up
Joyce DiDonato – Gala Concert
Featuring Joyce DiDonato, mezzo-soprano, eith Eivind Aadland, TSO Chief Conductor & Artistic Director.
J Strauss Die Fledermaus Overture
Berlioz Les Nuits d’été, Op. 7
BeethovenSymphony No. 7, Op. 92
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