Tag Archives: TMO


The Metropolitan Orchestra (TMO) is returning to live performance. The TMO  will finish 2020 just as it started, with lots of energy, excitement and plenty of much loved live music including the return of a favourite Australian work.

The concert on December 5th will have limited capacity while also being live streamed.

The performance will open with Beethoven’s arousing and emotional ‘Coriolan Overture’ to reflect the tragedy of 2020 on the arts. Continue reading THE METROPOLITAN ORCHESTRA BACK LIVE IN CONCERT


Above : Guitarist Giuseppe Zangari plays Rodrigo’s  ‘Concerto De Aranjuez’ with TMO. Featured image : conductor Sarah-Grace Williams leads TMO during the final concert for 2017. Photo credit : John B C Images. 

‘New Beginnings’ was TMO’s final Met Concert in this year’s series, and the  last performance for 2017. It communicated with signature energy and freshness across a diverse programme. The concert began with a world premiere then forged an expressive path back through time, covering a guitar concerto before finishing with Beethoven’s mighty Symphony No 3 {‘Eroica’). Continue reading THE METROPOLITAN ORCHESTRA: MET CONCERT 5 @ PETERSHAM TOWN HALL


Glenn 2

Above: Violin soloist Glenn Christensen played Beethoven’s Violin Concerto with TMO. Featured image: The Metropolitan Orchestra and Chief Conductor Sarah-Grace Williams. Photo credit: John B Chen.

The fourth concert in TMO’s 2016 season, ‘The Great’ was a substantial undertaking. Its exciting programme consisted of two very well-known works regarded as being great due to their inspiration, structure and impact.

These works were written by two composers considered amongst the greatest of their era and of all time. TMO admirably met the challenge of presenting early nineteenth century works by Beethoven and Schubert in fresh and captivating interpretations.

To begin this concert’s juxtaposition of two great works, TMO collaborated with violinist Glenn Christensen in a performance of Beethoven’s Violin Concerto in D Major Opus 61. At all times throughout this work TMO supported the soloist well.

The essence of Beethoven’s uniquely direct rhetoric was delivered through clear realisation of thematic material. Full orchestral textures were satisfyingly blended and Beethoven’s burgeoning Romantic leanings were evident in striking declamations from the orchestra alone.

Violinist Glenn Christensen presented an extremely sensitive and elegant opening movement to this work. Without the hectic bravura often heard, the structure of the violin solo utterances was expressively and at times uniquely outlined. The building blocks of this famous movement were laid down successfully with considerable grace and unhurried reverence.

This work’s slow movement demands an interpretation from soloist and orchestra which maintains beauty and lyricism over a difficult and prolonged expanse. The attempt on this occasion was successful in this regard. It also was the best balanced playing between violin soloist and TMO heard in the work.

The performance of this movement yielded a steady thread of exquisite cantabile voice and an exemplary rendering of authentic Beethoven expansive slow movement fare. As in the remainder of the work, Christensen’s moments reaching to the very high register were gentle yet stunning in their precision.

TMO and Christensen launched themselves out of the central movement’s stillness and into the final rondo movement with instant and great contrast. The theme was joyously characterised and we were treated to some energetic fireworks in the violin elaboration.

Following interval Schubert’s profound Symphony No 9 in C major D944 ‘The Great’ was played with great drama, great control and great respect for Schubert’s architectural and dramatic ambition. The creative concepts and textural variety of the composer’s vision were well promoted. We heard this work’s intricacies and climaxes being well articulated despite the large forces assembled.

From the symphony’s outset and introduction from the horn section there was an air of noble restraint. This continued particularly in TMO’s winds whenever needed throughout. Oboe lines were nicely drawn and held above the rest of the orchestral colour. The oboe parts which feature in the second movement were also steadfast and captivating.

The contrasts in the third movement Scherzo and Trio were superbly handled, making this section of the symphonic journey a crisp, buoyant and satisfying event. TMO showcased themselves and Schubert as progressive artisans in this movement, a highlight of the performance.

At the conclusion of this symphony and the concert TMO showed no cracks in their stamina or artistry. This was yet another satisfying Met Series Concert. The final Met Concert for 2016 at the ABC Centre takes place on November 12. It features TMO’s principal clarinettist in a work by Elena Kats-Chernin. The programme will also include Beethoven’s loved Symphony No 7.




Main image: Sarah-Grace Williams leads The Metropolitan Orchestra. Above: Da Silva Chen was soloist in the Tchaikovsky Violin Concerto
Main image: Sarah-Grace Williams leads The Metropolitan Orchestra. Above: Anna Da Silva Chen was soloist in the Tchaikovsky Violin Concerto

The Metropolitan Orchestra’s (TMO) Concert #5 at the ABC Centre’s Eugene Goossen’s Hall followed the successful pattern of previous concerts in this series.

A local soloist was featured with TMO in the concert’s first half. After interval TMO was showcased in a performance of a major work from the orchestral repertoire.

Met Concert #5’s soloist was 19 year-old Sydney Conservatorium student Anna Da Silva Chen. Anna performed the Violin Concerto in D major Op 35 by Tchaikovsky. This work, premiered in 1881, is famous for its technical fireworks and emotional intensity. Continue reading TMO PRESENTS CONCERT #5 @ THE EUGENE GOOSSENS HALL, ABC CENTRE


TMO principal flautist Svetlana Yaroslavskaya with chief conductor Sarah-Grace Williams
TMO principal flautist Svetlana Yaroslavskaya with chief conductor Sarah-Grace Williams

From chamber music which re-works a Baroque master’s keyboard pieces to a masterful interpretation of a titan amongst the orchestral repertoire, The Metropolitan Orchestra (TMO) presented yet another inspiring concert in the 2015 Met Concert series.

This concert opened with Elena Kats-Chernin’s innovative musings on JS Bach’s Two Part Inventions for keyboard. The work transforms selected inventions into a chamber music treat for wind soloist and strings. Originally conceived for recorders and strings, this Met Concert version premiered the works performance on piccolo, flute and alto flute by TMO principal Svetlana Yaroslavskaya. Continue reading TMO MET CONCERT #4 @ EUGENE GOOSENS HALL


The Sydney Chamber Choir performing at their first concert for the year at the City Recital Hall,  Martin Place
The Sydney Chamber Choir performing at their first concert for the year at the City Recital Hall, Martin Place

The first Sydney Chamber Choir concert for 2014 collaborated with fine soloists and The Metropolitan Orchestra (TMO) to present musical ingenuity from over the past four and a half centuries. Guest conductor Richard Gill was faithful to every ground-breaking composer from each era. He wrought intelligent and measured performances not lacking in resounding climaxes and a wealth of nuance. The architecture and choices for instrumentation of each work were allowed to express themselves with clarity.

Continue reading FAURE’S REQUIEM


Sarah Grace conducting the TMO
Sarah Grace conducting the TMO

The Series Three concert was consistent with the TMO’s 2013 programming formula. Orchestral works and collaboration with a soloist were followed by a loved orchestral classic as a finale.

This concert’s gift to the assembled was once again its work with the guest soloist,- the diverse sensitivity and fine control from alto saxophone virtuoso Nicholas Russoniello in Concerto for Alto Saxophone and String Orchestra by Alexander Glazunov.

Russoniello is a master of his instrument and a musical communicator of exceptional standard. His fine phrasing was always well supported by the TMO.

The climax to the concert, Mozart’s Symphony No 41, ‘Jupiter’, was robustly performed. A highlight on a smaller scale were the two string orchestra works. They contained the most successful and seamlessly evocative playing of the night.

In both the Mendelssohn Capriccio and Fugue Op 81 and Mahler’s  ‘Adagietto’ from Symphony No. 5  the progression of Romantic sentiment was well illustrated in the blend of the TMO strings.

Disciplined fugal playing had great direction in the Mendelssohn excerpt. The addition of Helen Boyd’s harp to the concert and string texture helped make the sheer beauty and communication of the Mahler one of the finest moments of a fine night.

The Metropolitan Orchestra Met Series Three was performed at the Independent Theatre, North Sydney on Saturday August 31.

The fourth and final concert of the 2013 Met Season on November 2 is not to be missed. It celebrates the fifth anniversary of this orchestra with the fifth symphonies of Beethoven and Tchaikovsky and will be performed at the Eugene Goosens Centre.