KEITH’S PICKS IN THIS
2025 SUPPORTER EVENTS Meet Jonathon Coco, MSO Principal Double Bass
2 3 4 6 7 8 10 14 16 WELCOME NEW FACES OF THE MSO WELCOME HOME, JONATHON COCO INTRODUCING RICHARD WIGLEY AARON WYATT IS WIRED FOR SOUND SINGAPORE SLING: MSO TOUR HIGHLIGHTS SNAPSHOTS
There has been significant change recently at the MSO. I would like to acknowledge that it has been a difficult time for many of our patrons, our players and our staff.
As always, I am very grateful for the many conversations we’ve shared in recent months and I am reminded that in challenging times, music is a safe haven. A place where one can be transported to a place of inner calm and reflection.
We are very much looking forward to focussing on what we do best: enriching lives through music.
In this issue of The Full Score, I am delighted for you all to get to know our new CEO, Richard Wigley. Originally from New Zealand, and with decades of global experience as both a musician and artistic leader, he has already made positive gains in the three months he has been with us. Welcome Richard — your warmth, ambition and inclusive style of leadership is moving us forward in the very best way.
You’ll also meet our newest Principal Double Bass, Jonathon Coco, who has recently joined us from Adelaide Symphony Orchestra. He shares what drew him to his instrument and what’s on his musical bucket list.
While there are exciting new faces, we also say farewell to some retiring members of our MSO family.
Sarah Morse (cello, joined 1989), Kirsty Bremner (first violin, joined 1987), William ‘Bill’ Evans (trumpet, joined 1988) and Isy Wasserman (second violin, joined 1975) have been vital, longstanding players and have mentored dozens of musicians over their tenure. We thank them for their wonderful contributions and artistry, and wish them very well.
You’ll be reading this on the precipice of the busy festive season. From all of us at your MSO, we wish you happiness, health and musical joy, and a glorious summer ahead.
Looking forward to seeing you in the concert hall soon.
My best wishes as always,
Suzanne
Dembo
Director, Philanthropy
and External Affairs Melbourne Symphony Orchestra Instrument Fund success–thanks to our wonderful Patrons
As many of you know, quite a few of our instruments were in need of an upgrade to be at the standard of a world-class orchestra.
It is with heartfelt gratitude that we will soon have a brand new timpani, generously supported by Catherine and Fred Gerardson; and harp, thanks to Pauline and David Lawton, in memory of David’s father Arthur. Our Principal Harp Yinuo Mu, and new Principal Timpani, American-born Matthew Thomas, look forward to playing these wonderful instruments for the benefit of many.
Thanks to Pauline and David Lawton, Cecilie Hall and all our wonderful Instrument Fund Appeal donors, we also have a new vibraphone! We also thank Tim and Lyn Edward for their generous support of two new xylophones; they will sound beautiful next to our new glockenspiel, with a wonderful gift from the Joe White Bequest.
To join our enthusiastic community of Instrument Fund supporters, contact Christina Chiam on 03 8646 1551 or chiamc@mso.com.au
A
NEW YEAR BRINGS NEW MUSICIANS TO OUR FOLD, REPLENISHING AND REINVIGORATING OUR EVER-EVOLVING ORCHESTRA. JOINING JONATHON COCO ON STAGE THIS YEAR ARE THREE NEW MUSICIANS — WELCOME TO THE MSO FAMILY!
Czech-born violinist Anna studied at the Prague Conservatory. Her primary teachers included Jaime Laredo, Stephen Shipps and Jaroslav Foltýn. Prior to joining the MSO, Anna was a member of the Sydney Symphony Orchestra and the San Diego Symphony. A well-travelled musician, she has served as concertmaster of the New York String Orchestra, Michigan Philharmonic, University of Michigan Symphony Orchestra, Indiana University Orchestra and also participated in the Britten-Pears Orchestra (UK). Anna appeared as a soloist with the University of Sao Paulo Symphony Orchestra and was a featured soloist in the 8th Emirates International Peace Music Festival in Dubai.
Aidan received his Bachelor of Music from the Sydney Conservatorium in 2021, where he studied with Roger Benedict. He’s performed with the Sydney Symphony Orchestra, Australian Chamber Orchestra, Australian Brandenburg Orchestra and Melbourne Chamber Orchestra, and has also appeared as a soloist in the premiere of a double concerto by Richard Mills AO. He was part of the Sydney Symphony Fellowship program in 2023.
Aidan enjoys creating new music and in 2022, he released his debut EP, Summit, which includes three works for viola and piano in collaboration with long-time friend, Patrick Jaffe.
Matthew grew up on the Texas Gulf Coast in America. He studied primarily in New York at the Eastman and Juilliard Schools before receiving a scholarship to take timpani lessons at the University of the Arts in Berlin. He was an apprentice with the Brandenburger Symphoniker for two seasons before working with the Thüringen Philharmonie for one year as Principal Timpanist. He then served as Section Principal Timpanist with the Malaysian Philharmonic Orchestra for eight seasons in Kuala Lumpur, Malaysia.
If you are interested in supporting the Chairs of our new or existing musicians, please contact Charlotte Crocker on crockerc@mso.com.au or (03) 8646 1551. We would love to introduce you!
It’s a dream come true for the MSO’s newest Principal Double Bass, Jonathon Coco. As a boy from suburban Kew, he grew up listening to the MSO – and now he finds himself in its storied ranks.
It sometimes can be like dancing with a wardrobe.”
With that evocative image, the scene is set to introduce Jonathon Coco. At six foot three inches tall, he has the stature required to wield such a commanding instrument. He’s just finished the day’s rehearsals and is a colourful figure in a retro red shirt and a Movember-worthy moustache. He describes his journey to the MSO.
“I grew up in Kew, lived there all my life. I always loved to sing, so I was always singing around the house with my sister. We had a family friend who was a bass player and I think because he was ten years older than me, I thought it was the coolest thing that I'd ever seen. I was apparently just obsessed with playing the double bass after that,” he remembers.
His school, however, needed some convincing to let the young Jonathon loose on his instrument of choice.
“The school was apprehensive. They made me play the cello first; maybe they thought I wasn’t big enough,”
he says. “So I played the cello for a year, and it was definitely not my instrument. They let me play bass the following year, and instantly, it was great.”
His love of double bass never waned, and Jonathon is clearly overjoyed at a permanent position in his hometown.
"It’s pretty surreal to now be in the MSO. Several members of the bass section have, at some stage, been teachers or mentors of mine. I’ve looked up to them for many years.
I’m also thrilled to be part of the wider MSO string section which is much larger than the string section in my previous orchestra. It’s taken me the best part of the entire time I have been here to say hello to everybody."
The role became official in May 2024 — but it was a rigorous process to get the top job.
“I first auditioned in September 2022 and it was between myself and another wonderful player. We then did a month each as the first stage, then a vote, then I started my trial in October last year. It was one of those things where the more
It’s pretty surreal to now be in the MSO. Several members of the bass section have, at some stage, been teachers or mentors of mine.
I felt like it was going well, the more nervous I got!”
After seven years in Adelaide with Adelaide Symphony Orchestra, Jonathon is enjoying reconnecting with his family.
“That was a big part of wanting to come back to Melbourne. I'd forgotten a little bit how much I missed them.”
For many double bass players, there are two distinct roads: orchestral or jazz. How did Jonathon choose?
“It's changed for me over the years. I initially thought it would be jazz, being free and just being with your friends, that was really appealing while I was in the school jazz band. Then I had a violin teacher at the school give me a CD – it was Mahler’s Resurrection Symphony and it opened my eyes to the sonic possibilities of the double bass.”
Jonathon is animated as he remembers hearing this seminal work for the first time.
“The second movement is this thunderous opening for the cellos and basses. And after that, I never looked at jazz playing again. Mahler single handedly ruined my jazz career.”
We move onto the specifics of his instrument, and the sound Jonathon skilfully draws from it.
“I probably err towards a slightly smaller instrument. We have two different configurations of the instrument in modern orchestral bass playing; you can get a four string double bass or a five-string bass. Five string basses are just naturally larger and by default tend to have a darker sound. I need an instrument that does speak a little more acutely, something that can really cut through when I’m playing by myself as well as when I’m blending with the bass section sound," he explains.
“My bass is a French instrument that's been with me for 14 years now. It was built in the mid to late 1800s. It's unlabelled, so we don't really know who the maker is. There were a lot of factory made bases made around that time in France, coming out of the House of Bernadell or House of Gand. Its name is Remy.”
Of that time period, Jonathon shares his musical bucket list.
“There's a bass player, Giovanni Bottesini, who's the most famous person in the double bass world. He wrote a number
of concertos for us and a huge amount of music for the double bass. He was alive in the 1800s. It would be amazing to watch one of his concerts.”
“Being trained in the Viennese school, it would be a dream to play a Vienna Field, a New Year's Eve concert, where you get to play all the waltzes and enjoy beer and strudel in the green room.”
Back to Mahler and that pivotal work. “We’re playing Resurrection Symphony next year, and it will be the first time I’ve ever played it. It was really pivotal for me in deciding to be a classical bass player. Nicholas Carter is doing Mozart’s Great Mass and he was the chief conductor when I was in Adelaide. I'm also really excited for How to Train your Dragon, it’s one of my favourite movies.”
More time with Remy calls.
Mahler’s Resurrection Symphony
27 February & 1 March 2025, Hamer Hall
How to Train your Dragon in concert 1 & 2 August 2025, Melbourne Convention and Exhibition Centre
Mozart’s Great Mass 18 & 20 September 2025, Hamer Hall
Richard Wigley likes to help build things that last. After spending most of the last decade leading change at the Ulster Orchestra in Northern Ireland, Richard’s long experience as musician and manager makes him an excellent choice as the MSO’s new CEO.
I’d only spent one day in Melbourne before moving here,” Richard confesses. “Trevor Green (former MSO managing director) was an old friend, and he invited me here for a concert at Hamer Hall twenty years ago ” It's a city he’s quickly taken to.
“I’m delighted by the food, by the vibe. I love that there’s a river going through the city. The trams and markets are fantastic, as are the people. I love Myer – it’s got everything I need to set up my kitchen!”
He's still buzzing from the previous night’s MSO performance.
“One of the best things I've ever seen. Monkeying around with the music of John Williams to make it so interesting, accessible, and without talking down to the audience.”
Richard’s wife of 40-plus years, Kim, has joined him in Melbourne, splitting her time here and with the sustainable home they’ve recently built in New Zealand, where they’re originally from. He’s looking forward to their daughter Emma (Orchestra Manager of the Auckland Philharmonia) visiting soon too.
“My wife and I met when we were in our teens. I was at the boys’ school, playing bassoon, and she was at the girls’ school and played oboe. There were a whole lot of us around at that time, always making music, with fantastic teachers. We were very lucky.”
With a single-minded plan to secure a spot in an orchestra, Richard studied in the United States to fill some selfidentified gaps in technique. Without a green card, he headed to Europe, joining The Hallé in England. He
“We are rebuilding for the future. Everything I do is through that lens."
then took a role in the Learning and Education side of the orchestra.
“I learned a lot about building teams, working with different groups and working with composers. It was like a small creative business inside the orchestra, and for me, transformational.”
Richard also spent ten years as General Manager of the BBC Philharmonic, where he honed his leadership skills.
“I like being a leader from the middle. Tha's my thing. It's my responsibility to make the big calls, but I will listen to you as best I can before that. It's not a collective decision because I'm paid to take that responsibility. I'll tell you my ideas, but if yours are better than mine, I'm going with yours,” he says.
Richard has been CEO for three months and is quickly building close relationships with Maestro Jaime Martín and our musicians, forming the trust and shared vision needed in successful artistic partnership.
“Jaime, what a mind. You get the flamboyance and musical vision and that's really engaging for the audience. He also brings great perspective from a starry career as performer and conductor, as good as I've ever seen
in someone in that role. And that's a brilliant challenge for us.”
“I believe orchestras should program a quarter of a step ahead of the audience. We should always be leading the audience, but not so far ahead that we lose them, although far enough that we energise the programming of the future.”
“My role is to realise ambition. I'm not here to stamp my authority on the artistic program, but between us, we can help shape each other’s thinking in particular ways just by combining our creativity, dreaming of what's possible.”
Richard ends on a rousing note.
“We are rebuilding for the future. Everything I do is through that lens. And that's not to say we're rebuilding everything because the MSO has great bones and is a fantastic orchestra. We are so fortunate that the public is really behind us.”
“I will be proud if, when I step away, the MSO has that strong feeling of creative ambition and organisational solidity that it needs. That will make me very, very happy.”
A musical polymath, Aaron Wyatt’s output and range is quite something. The violist, violinist, conductor, composer, programmer, and academic shares what’s next after conducting the MSO’s First Nations Showcase earlier this year, proudly supported by the MSO’s Major NAIDOC Week Partner Equity Trustees.
It’s three days out from the premiere of Aaron’s new Melbourne Fringe Festival work, Digital Echoes Wearing a serious pair of headphones, and with a keyboard and sheet music to his right, he explains how the piece pushes the limits of sound and digital technology to explore classical music in a new form.
“During the pandemic, I helped to further develop this software called JackTrip (a system for high-quality audio performance over the internet, initially developed out of Stanford University in the US). For Digital Echoes I’m using it to bounce the sound of the viola back from remote nodes around the country, before having it played through transducers attached to percussion instruments to create new, hybrid sounds. It’s almost as if the internet was a room, with the audio reflecting off a series of walls. But instead of creating reverb, it creates an audible delay.”
It’s easy to see how Aaron had a choice between pursuing music, or a scholarship in engineering. Equal parts creative and curious, he credits the youth orchestra system in Perth for helping nurture his career aspirations. Of his early playing days though, he gives himself a blunt assessment.
“It's not like I was some child prodigy. I didn't particularly practice a lot,” he recalls. “The youth orchestra was as much a social thing as a musical thing, and it taught me a lot about sight reading because I never used to practice my parts - not something I'd necessarily recommend to younger musicians!”
Post youth orchestra, Aaron could be found onstage at the West Australian Symphony Orchestra over the next decade, but also found himself conducting community and school orchestras in metropolitan and regional Western Australia.
“That was very handy in that you read through a lot of repertoire, a lot of really big repertoire. But the big issue as a young conductor is finding time in front of ensembles,” Aaron says. Opportunities to do so have come from the MSO, and in particular, through the generous support of the Sage Foundation, who support Aaron’s development through a First Nations Conducting Mentorship.
“Next year, I'm doing the Australian Conducting Academy with Ben Northey and the various state symphony orchestras, and I was lucky enough to already sit in on one of the sessions this year with the MSO. It's just invaluable having a chance to actually work with the Orchestra and, as confronting as it is, to watch yourself back on video.”
“It's good to see what the musicians are actually seeing and how much it deviates from what you think you're communicating.”
Aaron acknowledges that private philanthropy, the likes of which saw MSO partner Equity Trustees supporting a First Nations Showcase earlier this year, is vital to giving emerging musicians the chance to play on the main stage.
“Philanthropy is hugely important. We're lucky there’s support for the
major performing arts organisations. It's great there’s private philanthropy here, because it does make up those shortfalls that inevitably happen, and they do allow our arts organisations to function.”
Juggling multiple musical hats is the order of Aaron’s schedule for 2025.
“There’s a kids concert with Eliza Shephard; another First Voices Showcase and Seasons which will look at works from Indigenous composers inspired by Indigenous seasons, rather than the traditional summer, autumn, winter and spring. We’ll be working with language consultants to include language into the performance.”
Aaron smiles, reeling off a list of musical engagements that would intimidate many. After spending just a short amount of time in his company, one gets the distinct impression he wouldn’t want it any other way.
Curious about our First Nations artist development and performance initiatives? Contact Christina Chiam at chiamc@mso.com.au to learn how you can get involved.
Seasons 28 & 29 March 2025, Hamer Hall
MSO for Schools: Eliza’s Orchestral Adventures 12 September 2025, Hamer Hall
Five action-packed days (and nights), two concerts between two world-class orchestras, 12,000 kilometres travelled, many priceless behind the curtain experiences and a truly unforgettable mix of cuisine and culture.
17 patrons joined 38 MSO musicians, 59 MSO choristers and representatives from the MSO’s leadership, including Chief Conductor Jaime Martín, on tour to Singapore in August. Here’s an insight into our adventure!
Starting with a behind the scenes tour of the iconic Victoria Concert Hall — the oldest in Singapore and home to the SSO since 1980 — we were warmly received by Mr Kenneth Kwok, Chief Executive Officer of the SSO. Under the expert guidance of Mr Kwok, we then travelled to Tiong Bahru Hawker Market, to enjoy a delicious hawker style lunch. The afternoon was spent marvelling at an exclusive showing of a private art collection, followed by a gastronomic experience at Rubato, co-owned by Darrel Ang, Artistic Director and Chief Conductor of the Sichuan Symphony Orchestra.
With an average temperature of 31°C in August, coupled with humidity hovering around 80%, it was a far cry from the Melbourne winter left behind!
The main engagement of day one was quite the showstopper — a welcome reception at the Residence of the Australian High Commissioner of Singapore, His Excellency Allaster Cox. It was a great chance for the touring patrons to get to know each other, before taking in the bright light(show) at Gardens by the Bay!
“One of the most amazing things about going on tour is that you get much closer to the musicians. You get to talk to them, get to know them, Find out what’s exciting them. Apart from the concerts themselves, which were fantastic, my highlight was where we got to see the rehearsal. Watching Jaime work with the soloists and seeing the little subtle changes that he made to reflect the way he wanted it to sound; they were just little things, but he made them so much better.
You get to see and feel the joy of the players, while they share their talents with the world. It was fabulous fun. I can’t wait for the next one!”
VIP Tour Patron, Bill Fleming
Another full day started at the Intan — a private home that houses one of Singapore’s most impressive collections of Peranakan (a group descended from Chinese settlers) artifacts. Owner Alvin Yapp has spent 30+ years collecting 1,500 objects from Peranakan culture and graciously invited us to share in the wonder of his collection. We then headed to Yantra, one of Singapore’s leading Indian restaurants, for more fascinating conversation with Maestro Martín and MSO Chorus Director Warren Trevelyan-Jones. The evening proved to be one of the tour highlights. We enjoyed a casual backstage dinner with musicians from both the MSO and SSO, before being privy to a private rehearsal with our wonderful soloists. We finished this thrilling day with cocktails at Spago by Wolfgang Puck in the iconic Marina Bay Sands, watching the twinkling lights of the city.
After three busy days, there were options to make this day as full or as easy as you liked. Optional activities
included an inspiring leadership brunch, filled with exceptional cultural leaders including Guest Soloist, Siobhan Stagg; a visit to Orchard Road, the heart of Singapore shopping; or an exclusive guided tour of Tang Contemporary Art Gallery.
Many wanted to save their energy for the main event ahead — the first of two Concerts of Friendship, where the MSO and SSO performed side-by-side at The Esplanade.
Carl Orff’s choral-orchestral spectacular Carmina Burana was the centrepiece, with over 200 choristers and musicians on stage. The program also included Maria Grenfell’s Fanfare for a City, The Three-Cornered Hat: Suite No. 2 from Manuel De Falla, and Stravinsky’s 1919 version of The Firebird: Suite. A 10-minute standing ovation from the capacity audience which included Deputy Prime Minister of Singapore and the Australian High Commissioner, was incredibly special. It was then onto the famous Raffles Hotel for a celebratory Singapore Sling with guest artists to toast a truly successful collaboration.
“This was one of the most extraordinary experiences of my life. I’ve had so much joy from coming on tour. I’ve had a passion for music all my life and to be part of that experience to see the MSO at work, to be hanging out with other music fans, it’s been wonderful.
The party at Spargo was a highlight! I was able to talk to several people that I hadn’t talked to before, and we all share this love of music and travelling. I hadn’t been to Singapore for 50 years so that felt like a new experience.
It's a shared experience of coming together to be with the MSO, watching a masterclass and seeing all the work going behind it. It gives you a different experience of music making and a stronger appreciation of them.”
VIP Tour Patron, Barbara Bell
Our last official day of the tour. The morning was a special masterclass, observing MSO musicians Christopher Moore, Johannes Grosso and Jack Schiller working with students of YST Conservatory, formerly Singapore Conservatory of Music.
It wouldn’t be a trip to Singapore without trying one of their most famous dishes, chilli crab! The special guest of honour was Li-Wei Qin, one of the most important Chinese Australian cellists and close friend of the MSO. We were treated to yet another evening of world-class performances by the MSO and SSO, and our respective choruses. The tour was capped off with a Farewell Reception that brought together all the amazing artists, staff and supporters who helped make the tour possible. It was a trip to remember!
This year’s series opened with two of the MSO’s most beloved artists, Chief Conductor Jaime Martín and yidaki (didgeridoo) virtuoso, William Barton in conversation with ABC broadcaster, Stéphanie Kabanyana Kanyandekwe. A highlight of the evening was William Barton’s deeply moving acapella performance of his piece, Kalkadungu Yurdu.
and
and
3: Dr Oliver Daly, Simone Clancy, Stéphanie Kabanyana Kanyandekwe, Frank Mercurio, Véronique Serret, William Barton, Carol des Cognets, Di Jameson OAM, and Jaime Martín. 4: Mary Armour and William Barton. 5: Michael Davies, Drina Staples, Tom Sykes and Helen Trueman. 6: Jaime Martín with Wendy Hall and Chris Friday.
Our exclusive Guests of Note dinners take you up close and personal with the MSO’s Artistic Family for an evening of conversation and fine dining. Our thanks to everyone who joined us over two nights in 2024 - your seat at the table supports the Orchestra’s core artistic program, helping us to bring the best artists, thrilling repertoire, and world-class orchestral performances to Melbourne and beyond. We have a special dinner in store for 2025…more details to come!
The second Guests of Note dinner featured a special pairing of two superstar vocalists, Australian soprano Siobhan Stagg and baritone Roderick Williams, who treated guests to a private, magical vocal recital!
Photo Credits: Nico Keenan.
This annual event is a wonderful chance for musicians and their Chair sponsors to connect and catch up on their latest musical adventures! This year, MSO percussionist Rob Cossom led an exclusive MSO ensemble performance of his work Dragonfly (2020), written for and dedicated to his Chair sponsors, Dr Clem Gruen and Dr Rhyl Wade. Thanks to all our wonderful Adopt a Musician patrons for supporting the beating heart of the Orchestra. Photo Credits: Nico Keenan.
Pictured 1: MSO Trumpet Rosie Turner, Diana Frew and Dr John Frew, MSO Cello Michelle Wood. 2: MSO Board Director Margaret Jackson AC and MSO Principal Horn Nico Fleury. 3: Elizabeth-Anne Neil and MSO First Violin Eleanor Mancini. 4: David Horowicz and MSO First Violin Anne-Marie Johnson. 5: Kaye McKenzie and MSO Principal Flute Prue Davies. 6: MSO Principal Bassoon Jack Schiller, Colleen and Dr Harry Imber and Andrew Moore. 7: Glenn Sedgwick, MSO Second Violin Tiffany Cheng and Anita Willaton.
Thank you to our MSO Guardians – individuals with a bequest to the MSO – for joining us at the annual High Tea! It was another wonderful occasion of music and conversation amongst old and new friends
Credits: Nico Keenan.
We were delighted to present Lady Marigold Southey AC with an MSO Life Membership, in recognition of her immense contribution to the MSO and cultural life of Melbourne. A private gathering for Lady Southey AC, her family and close friends was held backstage at Hamer Hall, before an on-stage award presentation in front of a grateful MSO community.
Photo Credits: Laura Manariti.
MSO Donor Liaison, Keith Clancy, shares five highlights for the first half of 2025. Tickets are selling fast, visit mso.com.au to secure yours!
Ryman Healthcare Season Opening Gala: Mahler's Resurrection Symphony
27 FEBRUARY AND 1 MARCH 2025, 7:30PM
HAMER HALL
I expect MSO Chief Conductor Jaime Martín and the MSO to bring the audience to their feet with Mahler’s “Resurrection” Symphony No.2.
Featuring a huge orchestra with offstage brass bands, soprano and alto
soloists and the MSO Chorus, this is one of the grandest ways to open a season. In the last 15 minutes, this piece moves from a slow, pianissimo a capella chorus, to one of the biggest endings of any symphony!
Joined with Gold
6 MARCH AND 8 MARCH 2025, 7:30PM HAMER HALL
Conducted by Maestro Martín, this program features the Australian premiere of Liza Lim’s A Sutured World for cello and orchestra. Liza Lim is our MSO Composer in Residence for 2025 and my favorite Australian composer (ever!). Liza writes magically unique music, drawing on her Chinese heritage and deep knowledge of the inner world of sound. Her works are sometimes challenging to the ear and mind, but they always have a poetic “hook” and moments of humour, beauty or wonder. Expect the unexpected!
Trifonov plays Rachmaninov
3 APRIL 2025, 7:30PM AND 5 APRIL 2025, 2PM
HAMER HALL
Daniil Trifonov is one of the most interesting and unpredictable pianists working the keyboard today. He seems to be able to play almost anything, equally at home
in the music of Rachmaninov as in Bach. I expect his performances of Rachmaninov’s eternally popular, Piano Concerto No.3 to be full of passion, intrigue and virtuosity.
10 AND 12 APRIL 2025, 7:30PM
HAMER HALL
This concert brings together two of my favourite works: the Brahms Violin Concerto and Ravel’s Daphnis et Chloé. The latter is presented in its rarely performed full-length form, the entire ballet score from beginning to end
12, 13* AND 14 JUNE 2025, 7:30PM
HAMER HALL
This concert, conducted by MSO Principal Conductor Ben Northey, features three major accessible 20th century works well suited for all audiences. Barber’s powerful Adagio for Strings is well-known from its usage in films and documentaries. Korngold’s dashing and romantic Violin
*Friday 13 June is a relaxed performance
with the MSO Chorus. MSO Artist in Residence and Melbourne audience favourite, James Ehnes, is the soloist in the Brahms and his solid technique and singing tone will make magic in the air!
Concerto features the Wunderkind violinist Christian Li as soloist. Finally, the 5th Symphony of Shostakovich was written as an irony-drenched response to the severe criticism he endured over his excursions into modernism in the 4th Symphony.
22 – 29 August 2025
Since 2020, the MSO has been planning a full orchestra tour to the UK and Europe. We’re delighted to share that the 5-city festival tour is now confirmed for 2025! The Orchestra will be led by Chief Conductor Jamie Martín and joined by major Australian and international soloists. Please contact Head of Philanthropy Christina Chiam if you are interested in accompanying the MSO on our VIP Patron Tour.
(03) 8646 1551
chiamc@mso.com.au
OPEN REHEARSAL & PATRON LOUNGE: WITH JAMIE MARTÍN
5:30pm, Tuesday 25 February, Hamer Hall
POST-CONCERT PATRON LOUNGE: SEASON OPENING GALA
Thursday 27 February, Hamer Hall
POST-CONCERT PATRON LOUNGE: DANIIL TRIFONOV PLAYS RACHMANINOV
Thursday 3 April, Hamer Hall
OPEN REHEARSAL & PATRON LOUNGE: WITH ELIM CHAN
5:30pm, Tuesday 27 May, Hamer Hall
POST-CONCERT PATRON LOUNGE: A REFLECTION IN TIME
Thursday 12 June, Hamer Hall
Times and dates are subject to change. Individual invitations will be issued. Please RSVP for catering purposes.
