Umberto Clerici, Chief Conductor of the Queensland Symphony Orchestra (QSO), programmed works from operatic, instrumental and cinema traditions while paying homage to his homeland’s musical traditions in this thoughtfully-crafted concert. His quirky humour was on fine display as he teered us through a personal pot-pourri of works.

The concert got off to a cracking start with a joyful rendition of Rossini’s overture to The Barber of Seville, well-phrased by Clerici with controlled but delicate precision from the orchestra. Tossing the melody deftly from one instrument to the next, the opera’s characters were well-defined by oboe, horn and bassoon in particular.

Continuing the opera theme, two orchestral pieces were woven around three soprano arias. Clerici brought out the tragic theme of Puccini’s expressive Intermezzo from Act 3 of Manon Lescaut with great attention to detail. Excellent playing from a mournful cello and viola was followed by ringing brass and powerful timpani, while the shimmering woodwind and delicate harp were passionately delivered.

Umberto Clerici conducts the Queensland Symphony Orchestra. Photo supplied

Verdi’s Act 3 Ballet from Macbeth offered three distinct dances. Clerici’s customary flare offered colourful musical textures from the allegro movements, sandwiched around a meditative slow movement with a fine bassoon solo.

Virtuosic arias were presented by soprano Eva Kong. First, Norina’s sparkling and charming aria, Quel guardo il cavaliere from Donizetti’s Don Pasquale with all its trills and arpeggios was attacked with relish. Puccini’s heart-felt aria from La Rondine, the glorious Chi il bel sogno de Doretta, requiring superlative breath control fully tested Kong’s ability to float her voice. However, she pulled out all the stops to deliver Violetta’s first-act aria from Verdi’s La Traviata, E strano… Ah fors’ è lui,..sempre libera, a marathon show-stopper.

Vivaldi’s Triple Concerto in C, RV 554, originally written for violin, cello and organ was here rearranged by James Crabb, replacing organ with accordion. It was an opportunity to hear Clerici swop his baton for the cello, alongside concertmaster Natsuko Yoshimoto. They both played beautifully, Vivaldi’s lively music well supported by a string ensemble in the first and third movements.

The three soloists came into their own without ensemble backing in the second movement, the blended sonority between accordion and strings splendidly realised. Taking up the melody and passing it between them, they complemented each other with individual skill and panache.

Crabb’s opportunity to shine came in Argentinian composer Piazzolla’s Aconcagua played on classical accordion. Piazzolla’s Italian heritage was its claim for inclusion, while offering an opportunity for Crabb to strut his virtuosity. This he did in a number of breath-taking passages of extremely fast tango music alongside technically flawless cadenzas. And he had such fun with it too, encouraging orchestral players and conductor Clerici to interact with his instrument, to the delight of the audience.

The final music of the evening, was cinematic. Prolific film composer Nino Rota, famous for The Godfather film scores, was here represented by two extracts from the Suite of Fellini’s film La Strada. A joyous, energetic piece centred around a carnival theme with lots of percussion, brass and a lovely tuba solo, allowed Clerici to unleash his inner passion with a colourful musical palette of sound. While jazzy trumpets and basses with pizzicato strings and some piercing woodwind dominated the second movement.

As an encore continuing the cinematic theme, principal oboe Huw Jones delivered a poignant reading of Gabriel’s Oboe from Ennio Morricone’s score of The Mission.

Italian Gala played on 15 May at the Concert Hall, QPAC and has been recorded by ABC Classic for broadcast on 7 June 2026 at 1pm.