Umberto Clerici, Chief Conductor of the Queensland Symphony Orchestra (QSO), has 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 is on fine display as he steers us through a personal pot-pourri of works.

The concert gets 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 are well-defined by oboe, horn and bassoon in particular.

Continuing the opera theme, two orchestral pieces are woven around three soprano arias. Clerici brings 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 is followed by ringing brass and powerful timpani, while the shimmering woodwind and delicate harp are passionately delivered.

James Crabb and Umberto Clerici. Photo © Queensland Symphony Orchestra

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

Virtuosic arias are presented by soprano Eva Kong. First, Norina’s Quel guardo il cavaliere from Donizetti’s Don Pasquale, a sparkling and charming aria filles with trills and arpeggios, is attacked with relish. Puccini’s heartfelt aria from La rondine, the glorious Chi il bel sogno de Doretta which requires superlative breath control, fully tests Kong’s ability to float her voice. However, she pulls 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 showstopper.

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

The three soloists come 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 complement each other with individual skill and panache.

Crabb’s opportunity to shine comes in Argentinian composer Piazzolla’s Aconcagua, played on classical accordion. Piazzolla’s Italian heritage is its claim for inclusion, while offering an opportunity for Crabb to strut his virtuosity. This he does in a number of breathtaking passages of extremely fast tango music alongside technically flawless cadenzas. And he has 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, is cinematic. Prolific film composer Nino Rota, famous for The Godfather film scores, is 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, it allows 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 dominate the second movement.

As an encore and continuing the cinematic theme, principal oboe Huw Jones delivers 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.