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The Melbourne Symphony Orchestra Magazine
New Year, NEW CONCERTMASTER AN IN-DEPTH CONVERSATION WITH MSO CONCERTMASTER NATALIE CHEE
PASSPORT
BACKSTAGE
The MSO across Europe, the UK & Indonesia
Meet our Box Office Team
Summer Edition
PASSPOR T
Tour Diary: Indonesia Tour 2025 The Harmony of Working Hand in Hand Tour Diary by Sarah Curro, MSO First Violin & Leader of the MSOYogyakarta Music Camp 2025 Marking up front-desk parts with bowings and cues, preparing scores, memorizing participant names, and visualizing my ‘Aunty’ persona fill my journey to Yogyakarta. Since the inaugural camp in 2016 under artistic director Monica Curro, we’ve achieved great things — yet each time feels like the first. The MSO players function like a well-oiled machine, with Aunty (my affectionate nickname, since the students once called me 'Mummy') at the helm. My fellow captains maintain energy and drive in rehearsals and together we create a professional and inspiring atmosphere. Prince Notonegoro’s goal is to transform the Royal Orchestra into a full-time professional ensemble within ten years, with MSO guidance. At the palace, tutoring both the Youth and Royal orchestras was enlightening. The players are polite to a fault, finding it difficult to understand that great music sometimes requires assertiveness. It’s a fascinating dichotomy: a hierarchical structure where no one wants to appear bossy.
Photo credit: Samantha Meuleman MSO staff and musicians at a knowledge sharing workshop with members of the Yogyakarta Royal Orchestra
Music Camp
What We Learn
The joy of familiar faces never fades.
We learn that cultures across Indonesia differ vastly, yet common ground always emerges. In Yogyakarta, hierarchy is not only accepted but celebrated — a way of expressing respect, gratitude, and humility, most evident in the reverence for the royal family.
“Do you remember me, Aunty? I was your second violin in 2022.” “Aunty, I have so many questions for you!” “Aunty, you must try this Soto Ayam — do you like it?” We always aim to inject as much musical diversity as possible into each day of camp. This year Michelle Wood (cello) devised a brilliantly varied program that pushed every stylistic boundary. No two pieces were alike, yet their concepts intertwined, reinforcing lessons the students will carry into future interpretations. We teach technique to reveal meaning. Talent is only the beginning; magic is the result. Everything in between is technical, and I believe the standard reached its peak this year.
Talent is only the beginning; magic is the result. Everything in between is technical, and I believe the standard reached its peak this year.
Photo credit: Samantha Meuleman Australian Deputy Ambassador to Indonesia, Gita Kamath, with MSO First Violin Sarah Curro.
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We learn that religion, like culture, is treated with the same easy respect as food or clothing choices. We learn to speak slowly and clearly because our words matter deeply to them — they don’t want to miss a single one. We learn that our Western ideals of individuality and self-expression, often prized at the expense of the group, pale beside such profound communal warmth. We cannot help but feel that we, the MSO musicians, are in their service, creating something far greater than ourselves: the harmony of working hand in hand. ■ The MSO’s international engagement activities in Indonesia are supported by the Victorian Government.
L E TTE R
Welcome
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IN THIS ISSUE
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Meet Your Concertmaster Learn more about the MSO’s new Concertmaster, Natalie Chee, who joins the Orchestra in 2026.
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Music Without Borders Follow our musicians as they perform on stages across Europe and the UK.
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Behind the Music Put a face to the voices of the Box Office team.
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Snapshots Go behind-the-scenes at our supporter and patron events.
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Fresh Faces Meet the newest additions to our Orchestra.
s we enter the final month of the year, I can't help but reflect on the beautiful moments that have defined 2025. From watching thousands of families spread their picnic blankets at our Sidney Myer Music Bowl concerts to receiving your heartfelt messages about our European tour adventures, there have been many highlights. In 2026, we're delighted to see the iconic Sidney Myer free concert series return to four concerts that will continue to create these precious moments for our Melbourne audience. Everyone in our city deserves to experience the joy of live orchestral music. In this inclusive spirit, we've taken a significant step forward with our new Diversity and Inclusion Action Plan, developed alongside the Australian Government's Department of Social Services. The conversations we've had with artists, community leaders, members of our audience and cultural organisations have been invaluable, reminding us that our Orchestra is at its best when it truly reflects the incredible diversity of Melbourne itself. In this newsletter, you’ll get to know our new Concertmaster, the incredibly talented Natalie Chee, and five new musicians who have joined the Orchestra recently. We also want to take a moment to bid a fond farewell to Eleanor Mancini (violin), Mark Mogilevski (violin) and Craig Hill (clarinet) who have recently announced their retirement. Collectively, these wonderful musicians have performed with the MSO for over 107 years. I know you will join me in thanking them for their
significant contributions and the joy they have brought so many over the years. They will be missed. Thank you to all who sent such warm wishes before we left on our European tour! Your pride in seeing the MSO represent our nation and great city of Melbourne on those prestigious international stages reminded us all why this work matters so deeply. As we look forward to an even brighter future for our Orchestra, I am grateful to all of you for your continued support. Thank you to everyone who has renewed their patronage (maybe you spoke to one of our “boxies”, Kara or Bradd, who are profiled in this newsletter!) Our end of year campaign is currently underway, and it would be wonderful if you would consider making a gift during the festive season. You are a vital part of a very special community that we continue to build together. With warmth and appreciation,
Suzanne Dembo Chief Operating Officer
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COVER STORY
Coming home: Natalie Chee's musical journey to the MSO 04
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Photo credit (incl. cover): Daniel Boud. Supplied by Australian World Orchestra.
After spending her professional life performing across Europe’s most prestigious stages, Sydney-born violinist Natalie Chee is ready to make Melbourne home. As the MSO’s new Concertmaster, she brings not only exceptional artistry but a refreshing perspective on leadership, collaboration, and the magic that happens when musicians truly connect.
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t wasn’t really in my plan to come back to Australia as I was quite settled in Europe,” Chee shared. “But the MSO kept the conversation going, and each time I played with them, something clicked. Suddenly, I could imagine doing this.” That ‘something’ reflects both the Orchestra’s persistence and Natalie’s ability to adapt — a skill she believes stems from her Australian background. “Australian musicians generally are very flexible,” Chee observed. “We have a lot of antennas and we pick up on things quickly.” This adaptability has served her well throughout her international career. From her early role as Concertmaster with Camerata Salzburg, to her recent position with the Gürzenich Orchestra in Cologne, Chee has an innate ability to understand each orchestra’s unique character while bringing her own steadying presence. Her musical journey began in characteristically Australian fashion. Her mum simply looked up Yamaha in the phone book when young Chee started picking out melodies on the piano at age three. The Yamaha Music School’s group-based approach, emphasising rhythm, singing and joy before individual technique, laid a foundation that still influences her approach to music-making today. “For me, music is about collaboration,” she reflected. “The beauty of the Orchestra is being able to make music together.”
This collaborative spirit shines through in her partnership with Chief Conductor Jaime Martín. “There was immediate trust,” Chee explained. “He’s also an excellent flautist, so he knows exactly what it’s like to sit on the other side of the fence. Musically, I understood immediately what he wanted. He leads with the heart and I really get that.” For Chee, the Concertmaster role is less about authority and more about service. “I see myself as part of a group, steering us as we work together to make this great thing happen.” This team-first philosophy, combined with what colleagues describe as a naturally calming presence, promises to bring a distinctive energy to the MSO. “It’s important that people have the feeling that you’re in control and that they can trust you,” she notes. “If that’s what I bring, then I’m really happy.”
Words: Nicole Lovelock
were above and beyond anything I could have imagined.” “Hamburg was a highlight. The hall was stunning and it was absolutely packed, we played with William Barton, the program was the right program. It was a packed theatre, as were all of the performances, but the audience were so vocal and appreciative — it was very memorable.” For an artist who never expected to return to Australia, Natalie Chee seems to have found exactly where she belongs. As she puts it simply: “It’s just exactly the right time for me to come home.” ■
While contractual obligations see her officially taking up the MSO Concertmaster post in early 2026, gaps in her schedule allowed her to take part in the MSO European tour in August. “The tour was fantastic timing as it gave the Orchestra and me a chance to bond,” said Chee. “It’s a different environment to being at home in the rehearsal and performance routine, and I was able to see how they reacted under pressure. The Orchestra did an amazing job and
It’s important that people have the feeling that you’re in control and that they can trust you. If that’s what I bring, then I’m really happy.” 05
PASSPOR T
Europe & UK Tour Album
Photo credits: Samantha Meuleman
In August, the MSO and Jaime Martín were invited to perform at five of the world’s greatest music festivals, in some of the world’s most celebrated venues - the Edinburgh International Festival, Santander International Festival, Südtirol Festival, Elbphilharmonie Summer and the BBC Proms. These invitations are among the highest distinctions in the orchestral world, representing the pinnacle of an orchestral musician’s career. Your Orchestra shared their world-class artistry with capacity audiences across the UK and Europe, receiving rapturous applause, critically acclaimed reviews and standing ovations. To those who supported taking our music to the world’s best stages thank you for allowing our Orchestra to share such joy. A special thanks to the Gandel Foundation, Metal Manufactures Electrical Merchandising, and our wonderful MSO Tour Circle Patrons in helping us achieve this incredible tour. We also thank the Department of Infrastructure, Transport, Regional Development, Communications Sport and the Arts, for their special assistance with this project.
William Barton’s unveiling of the world premiere of Deborah Cheetham Fraillon’s Treaty for Yikaki and Orchestra was utterly mesmerising. – The Scotsman Chief Conductor Jaime Martín, Deborah Cheetham Fraillon AO, William Barton and the MSO perform at the EIF.
MSO CEO Richard Wigley, His Grace The Duke of Bucchleuch and Queensberry Richard Scott; MSO Chair Edgar Myer; His Excellency The Honourable Stephen Smith, Australian High Commissioner to the United Kingdom; Agent General for Victoria to the United Kingdom Tim Dillon; MSO COO Suzanne Dembo; and MSO Co-Deputy Chair Martin Foley.
Jaime Martín and parents, backstage at Santander.
When the last notes dissolved and the audience broke into ovations, the feeling remained of having experienced something more than a concert: an act of belonging. Martín returned home not only as conductor of a major international orchestra, but as a symbol that music can unite geographies and memories. Jaime Martín conducts the MSO in his hometown of Santander, Spain.
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– Platea Magazine
MSO musicians play in the historic Kursaal Merano as part of the Südtirol Festival.
The Melbourne Symphony Orchestra, on its first European tour with Jaime Martín, captivated the Elbphilharmonie with great presence, full sound, and impressive virtuosity. At the end, there was not only frenetic applause but also rhythmic clapping and standing ovations. The MSO shone and impressed with its versatility. – Hamburger Abendblatt Newspaper
An artistic highlight - the MSO performs at the Elbphilharmonie Summer.
With the Melbourne Symphony Orchestra coming off as the ultimate star of the night, their whole execution served as a crucible of performative excellence, where each element came together in a perfect cadence of craftsmanship, fervour, and mellifluousness. – First Night Magazine
(L-R) Robin Rowe, Janet Matton AM, MSO Chief Conductor Jaime Martín, Bill Fleming, David Horowicz, Peter Kempen AM and William Barton. Photo: Christina Chiam
The MSO perform at the BBC Proms at Royal Albert Hall in London.
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BE H I N D TH E SC EN ES
More than tickets! Meet your MSO “Boxies” Words: Nicole Lovelock
W
alk into Hamer Hall or call the MSO Box Office, and chances are you'll encounter Kara or Bradd, two of the friendly faces helping you connect with the MSO. They bring genuine warmth, a passion for music and the arts, and personal integrity to their roles as MSO "boxies". For Kara, working in the MSO Box Office represents the perfect intersection of her two passions — music and people. A clarinettist in training who's performed in community ensembles for years, she arrived at the MSO in May this year, after working for both The Australian Ballet and Arts Centre Melbourne. "I love talking to people all day who share this passion for music," Kara beams. "It's really delightful to be able to help them see the Orchestra." Her dedication to music extends far beyond the desk. In May, Kara participated in Symphony in a Day, the MSO's annual initiative that brings amateur musicians together to rehearse and perform alongside professional Orchestra members. The experience proved transformative. “It was incredible, I felt so lucky! I was a bit nervous, but I get more nervous playing solo, having had a lot of ensemble experience, so that was really helpful.” As someone who attends numerous concerts each year, Kara has witnessed firsthand the MSO's
Photo credit: Samantha Meuleman Pictured: Kara
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Our Box Office team are the best in the business! I’m very proud of how they represent the MSO in every interaction.
Photo credit: Samantha Meuleman
– Shannon Toyne, Head of Marketing, Insights & Customer Experience
Pictured: Bradd
commitment to accessibility. A recent highlight was the Orchestra's first relaxed performance for adults, of a classical concert featuring her favorite composer, Shostakovich. "Hearing the music that I love so much enjoyed by people who might otherwise not do that was really special," she said. "I’m getting a bit emotional! The music and that experience should be for everyone." That philosophy of inclusion extends to Kara's Box Office work. When a patron provided feedback about not being able to afford tickets because of cost of living pressures, the MSO listened. By July, the MSO had introduced rush tickets at $35, available 90 minutes before select performances — a direct response to patron input that Kara finds particularly meaningful. Across the desk, her colleague Bradd (who uses ‘they/them’ pronouns) is six months into their MSO Box Office role and loves building rapport with loyal MSO patrons. Bradd’s genuine warmth shines through in stories such as speaking to a long-time subscriber who wasn’t able to make the Winter Gala featuring Lang Lang. “This lovely woman has been a subscriber to the MSO for forty-nine years, and I didn’t want her to miss the Gala,” Bradd explained. “I made sure she would have accessible
seating and anything else she needed if she could come, but in the end, we arranged a gift voucher that was valid for three years so she can use it when she’s ready.” The subscriber now asks for her favourite boxie when she needs anything related to her season package. "It's not just transactional," Bradd shared. "Every time I talk to her now, we have a good old chat about life." Bradd has noticed that while the classic and timeless concerts attract a loyal MSO audience, the more contemporary or film-based concerts are appealing to a wider Melbourne demographic.
“It’s fantastic that we have a student membership, so if you’re a university student or studying music, you have options to still come and see the MSO. I’ve noticed that our Beauty and the Beast program in 2026 is popular with a younger audience, so it’s nice to see a wider cross-section of people coming to see us.” Whether they're helping a subscriber navigate accessibility needs, explaining rush tickets to priceconscious music lovers, or simply sharing enthusiasm for an upcoming concert, the MSO boxies embody the inclusive spirit that makes the MSO accessible and welcoming to everyone. ■
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OU R C OM MUN I T Y
Snapshots An annual donation of $500 or more welcomes you into the MSO’s Patron Program. A gift in your Will welcomes you into the MSO Guardian Program. Enjoy behind the scenes access to Patron Lounges, Open Rehearsals and other special events throughout the year. To learn more about becoming an MSO Patron or MSO Guardian, bringing you closer to the music and musicians we all love, please contact philanthropy@mso.com.au
First Voices Showcase 2025 In June, we showcased First Nations composers James Howard, Leon Rodgers and Nathaniel Andrew at a concert directed by Aaron Wyatt and presented in tandem with MSO Major NAIDOC Week Partner, Equity Trustees. Aaron Wyatt’s work with the MSO is generously supported by Sage Foundation. Photo Credits: Laura Manariti.
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Pictured 1: Equity Trustees guests. 2: Prof. Nicolette Fraillon AM, Aaron Wyatt and MSO First Nations Creative Chair Prof. Deborah Cheetham Fraillon AO. 3: MSO Chief Operating Officer Suzanne Dembo, composer Nathaniel Andrew and composer/conductor Aaron Wyatt. 4: Tote bags celebrating the MSO’s partnership with Equity Trustees.
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MSO Guardians High Tea
The annual MSO Guardians High Tea is one of the most heart-warming MSO events of the season. In September, over fabulous cakes and scones high above the city, we celebrated our MSO Guardians for their invaluable contribution to the MSO’s future through our bequest program. Photo Credits: Nico Keenan
Pictured 1: Catherine Folley and James Dipnall. 2: Geraldine Russell and Mary Hill. 3: Georgie and Phil Burg. 4: Nola Anderson and Penny Rawlins. 5: Guests enjoying their high tea delights, courtesy of MSO Partner, Sofitel Melbourne On Collins.
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MSO Chair Sponsor Dinner Every year we hold a dinner bringing together Patrons with the MSO musicians they support through the MSO Chair Sponsorship program. This year’s event hummed with lively and extended conversation and featured a special performance from an MSO string quartet. Many MSO musicians have built longlasting relationships with the special people who support their work through this Program. Photo Credits: Laura Manariti.
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Pictured 1: Gavan Griffith, Margaret Billson and Jenny Khafagi. 2: Annie Neil, Eleanor Mancini and guest. 3: Jolene Coultas and Lorraine Hook. 4: Michelle Wood and Theresa Dye. 5: Will Clark and Helen Margolis. 6: Quartet performance by MSO musicians l-r Sarah Curro, Jenny Khafagi, Aidan Filshie and Michelle Wood.
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Keith’s Picks MSO Donor Liaison and symphonic music doyen Keith Clancy lists his picks of our Season 2026 first half — for your consideration:
Also sprach Zarathustra 12 & 14 MARCH, HAMER HALL 13 MARCH, COSTA HALL, GEELONG María Dueñas has a highly individual interpretation of the Beethoven Violin Concerto, adding her own virtuosic cadenzas in the first and third movements. The concert opens with a new work by one of my favourite Australian composers Melody Eötvös and closes with the lateRomantic grandeur of Richard Strauss’ Nietzsche-inspired tone poem, Also sprach Zarathustra.
Stravinsky & Chindamo 19 & 21 MARCH, HAMER HALL Benjamin Northey directs the Orchestra and the MSO Chorus in a new commission from 2026 MSO Composer In Residence Joe Chindamo, a fantasia for voices and orchestra drawing upon dystopian novels 1984 and The Handmaid's Tale. The program ends with Stravinsky’s viscerally exciting The Rite of Spring. This is sure to be an electrifying and thought-provoking concert.
Great Passions
Jaime conducts Smetana, Coll & Dvořák 28 & 30 MAY, HAMER HALL 29 MAY, COSTA HALL, GEELONG I love the music of Spanish composer Francisco Coll — it features intricately-coloured textures, a Stravinskian rhythmic verve and lots of references to Spanish musical traditions. The concert closes with the rarely-performed Antonin Dvořàk’s Symphony No.7, a sweepingly ambitious symphony regarded by many scholars as the finest of the nine.
Anja Bihlmaier conducts A Trip To Vienna 25 & 27 JUNE, HAMER HALL 26 JUNE, COSTA HALL, GEELONG Vivacious young German conductor Anja Bihlmaier returns to the MSO stage to present a brilliant program. The melodic grace of Mozart’s Oboe Concerto (featuring our wonderful Principal Oboe Johannes Grosso) and the lushly romantic sweep of Strauss' Der Rosenkavalier are contrasted with the vast expressive range of Bartók’s Concerto for Orchestra.
21 & 23 MAY, HAMER HALL Magnetic Serbian violinist Nemanja Radulović makes his Melbourne debut playing Khachaturian’s Violin Concerto. He has recorded the Concerto for Deutsche Grammophon with the Oistrakh cadenza, and it is a wild riot of a performance. The program also features Shostakovich’s Symphony No.4 which the composer withdrew from performance fearing it may have attracted unwanted “attention” from the Soviet authorities.
PS: It was very hard to pick only five concerts – there are wonderful chamber music and smaller ensemble concerts at Melbourne Recital Centre and Iwaki Auditorium in the season. Lots of Mozart, Brahms and Strauss! PPS: Email me at clancyk@mso.com.au if you want to have a chat about music or meet me at a concert.
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Introducing our newest The MSO continues to grow with the arrival of five exceptional musicians who bring fresh perspectives and remarkable artistry to our Orchestra. Each carries a unique story of dedication and passion for their craft that enriches our collective musical journey.
Johannes Grosso
José Milton Vieira
PRINCIPAL OBOE
PRINCIPAL TROMBONE
Johannes’ career includes solo positions with Frankfurt Opera House and the Budapest Festival Orchestra, alongside regular guest appearances with legendary ensembles like the Mahler Chamber Orchestra and Bayreuth Festival Orchestra. A 2014 Prague Spring International Music Competition winner, Johannes has collaborated with renowned conductors including Christoph von Dohnányi and Daniele Gatti.
After nearly two decades leading the Porto Alegre Symphony Orchestra's trombone section, José has established himself as one of Brazil's most distinguished brass artists. His international career has taken him across five continents, from performing Johan de Meij's T-Bone Concerto under the composer's direction at the International Trombone Festival to winning prestigious competitions in Italy and France.
Since 2018, he has shared his expertise as faculty at the Norwegian Music Academy in Oslo.
A family of instruments Musicians often name their cherished instruments, but rarely do families name an entire percussion section! Thanks to the extraordinary generosity of Tim and Lyn Edward and their family, the MSO's percussion collection now bears a very personal signature. Xylophones Tim (3.5 octaves) and Lyn (4 octaves) have been joined by a magnificent 5-octave marimba that will soon carry the name Kris, named after their son. 14
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A passionate advocate for new music and education, José continues his teaching work with Play With a Pro while bringing his warm, lyrical sound to the MSO's brass section.
This is the first time in the MSO's history that we have owned mallet instruments of this exceptional quality and range, and both our musicians and audiences are already hearing the difference. The percussion section forms the Orchestra's rhythmic heartbeat. From the thunderous drama of timpani to the delicate shimmer of a triangle, these instruments provide everything from foundational pulse to brilliant sonic effects. Mallet instruments, particularly the marimba and xylophone, occupy a special place in this family, capable of carrying melodic lines with a warmth and resonance that adds distinctive character. The new 5-octave marimba represents a significant leap forward for our percussion capabilities. While standard
MSO musicians
Jos Jonker
Emily Beauchamp
Aurora Henrich
ASSOCIATE PRINCIPAL SECOND VIOLIN
SECOND VIOLIN SECTION
DOUBLE BASS SECTION
Sydney-born Emily discovered her violin calling at age seven, spending her formative years at the Australian Youth Orchestra. After graduating from Sydney Conservatorium under Janet Davies, she moved to Melbourne to study at the Australian National Academy of Music with Robin Wilson. In 2023, Emily became one of the first members of our MSO Academy, an early career development program for emerging musicians.
Aurora’s musical story began at age five with piano and flute lessons from her musical parents, before discovering her true calling with the double bass at age eight. This Sydney native has consistently demonstrated her versatility and commitment, earning the Sydney Symphony Orchestra's Double Bass Fellowship in 2014 and becoming an ACO Emerging Artist the following year. Aurora joins us after a decade playing with the Tasmanian Symphony Orchestra.
Jos brings a wealth of European orchestral experience, having made Melbourne home since 2021. She has held positions with the Staatskapelle Berlin Orchestra Academy and was acting Second Concertmaster of the Philharmonisches Orchester Landestheater Coburg. Her Australian career has flourished with Melbourne Chamber Orchestra and Orchestra Victoria before joining the MSO in October 2024. Her artistry is enhanced by exceptional instruments — a violin crafted specifically for her in 2022 by French luthier Patrick Robin, paired with a distinguished Sartory bow from 1920s Paris.
Did you know you can play a personal role in supporting the careers of these talented musicians? Contact Charlotte Crocker at philanthropy@mso.com.au to learn about the MSO's Chair Sponsorship program.
marimbas span four octaves, this extended instrument reaches down to the cello's lowest C, opening an entire register previously unavailable to us. This expanded bass range is crucial for performing certain works that were previously unavailable for the Orchestra to play authentically. Principal Percussionist Shaun Trubiano captured the excitement perfectly. "The moment I played the new marimba, I knew we'd entered a new era for the percussion section. I want to express our profound gratitude to Tim, Lyn, and the Edward family. Their generosity opens up a world of artistic possibilities. Every time we perform on these instruments named after them, we're reminded of the
partnership between passionate patrons and dedicated musicians that makes the MSO truly special." When instruments bear names, they become part of our family story. It’s a beautiful reminder that great music is always a collaboration between artists, patrons and the audience, and the instruments that carry on our shared legacy. ■
Contact Christina Chiam at philanthropy@mso.com.au to learn how you too can help transform the sound of your MSO.
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