Entering her sixth season as Chief Conductor and Artistic Director of the Canberra Symphony Orchestra, Jessica Cottis has an obvious affinity with this this very capable ensemble. 

It may be her conducting style – at once both unaffected and energetic. It may be her affectionate introductions to the works and why she’s chosen to perform them. Or it might be the way she warmly acknowledges the efforts of her players before she turns to the audience to take her bow. 

Whatever magic she weaves, the CSO seems more comfortable in her hands than with some guest conductors.  

Enigma Variations: Jessica Cottis conducts the Canberra Symphony Orchestra. Photo © Arianne Schlumpp

This concert – as ambitious in form as the grandeur it expresses – is thoroughly engaging. Cottis explains that the program was inspired by the theme of friendship. In the case of Prokofiev’s Symphony-Concerto – his third attempt at a cello concerto – the friendship was between Prokofiev and younger cellist (and loyal defender) Mstislav Rostropovich.

For Elgar in his mysteriously titled Enigma Variations, 13 of the 14 movements impersonate qualities of various friends (his wife Caroline comes first), or in certain cases: one friend’s bulldog and another friend’s country house! 

The final movement is Elgar himself giving a musical middle finger to those critics who said he’d never be a successful composer. 

Continuing the CSO’s commitment to performing works by contemporary Australian composers, Alice Chance’s fascinating Through Changing Landscape – all of seven minutes long – is the opener.

Inspired by changing landscapes through the window of a train, sustaining an E throughout (although carried by different instruments, including percussion, in relay), this is a charming and unpretentious work. Beginning with rhythmic bells and flutes playing over long-bowed chords by the strings, the piece ends like the slowing of a steam locomotive (or a clock’s exhausted mainspring winding down).

James Morley, Jessica Cottis and the Canberra Symphony Orchestra. Photo © Arianne Schlumpp

Prokofiev, perhaps in a defiant and unconventional mood in the face of Stalin’s style censors, assembled a cello concerto that is challenging, intense and almost relentless for both soloist and orchestra. Young Switzerland-based Australian cellist James Morley is spectacular, using every technique to make his instrument blend with the orchestra at the beginning, speak on its own in the Allegro, then transform to percussive and wildly sliding forms in the Andante.

With a relaxed presentation, sporting what I’m reliably informed is a ‘burst taper fade’ haircut, Morley is blissfully and refreshingly engaged in his task. He pulls from his 2004 Rainer Beilharz cello a subtle, trebly tone when playing with other instruments, but makes it bark and whine and rear with thunderous crescendos when required.  

Elgar’s Enigma Variations provide a more serene, humorous and lyrical second half, although the CSO conveys the shifting moods and contrasting dynamics across the movements with both character and precision. Cottis renders the sweetest pianissimo end to the first movement, and conjures the full, sparkling, body-shaking grandeur of the Nimrod (Variation 9), with equally convincing ease.  

With the virtuosic flair of the CSO’s guest Concertmaster Kristian Winther added to the mix, this performance is highly accomplished, thoughtful and thoroughly enjoyable.   

For information on Canberra Symphony Orchestra’s 2026 season, visit cso.org.au