CSO 2022

Hugh Robertson dispels the myth of the lone composer-genius in conversation with international composer Leah Curtis (a Canberra export) and Connor D’Netto, whose influences span classical, opera, electronic and pop sounds.

Markiyan Melnychenko reflects on the nuances of Sibelius’ D minor violin concerto and his own musical journey in conversation with Jessica Cottis.

Guest artist Courtenay Cleary describes Margaret Sutherland’s Violin Concerto as a ‘hidden gem…intense, lush and whimsical.’

“If one of the main reasons we listen to music is to be moved on some level, and we know something about the composer’s life, we will inevitably hear elements of it in their music, and this enriches our listening experience.”

Jessica Cottis explores why the so-called ‘Tristan chord’ from Richard Wagner’s Tristan und Isolde – the inspiration for the CSO’s 2022 season – was such a game changer.

“I have a particular love for brass chamber music and the opportunity to feature the CSO brass quintet for the first time in a Chamber Classics concert will surely be a career highlight.”

“Richard Meale’s ‘Coruscations’ is a cult favourite among Australian pianists. I’ve lost count of how many effusive conversations I’ve had with fellow Meale enthusiasts about this scintillating and elusive tour de force.”

“The Sibelius Violin Concerto is always a favourite. It’s an evocative journey through the icy Finnish landscape, with the lone voice of the violin weaving in and out of the brooding orchestral timbres below.”