Melbourne Symphony Orchestra | Strauss and Mozart
February 28, 2026. Melbourne Recital Centre, VIC
Featuring Jaime Martin (flute and conductor) & Natalie Chee (violin)
The intimate surrounds of the Melbourne Recital Centre proved ideally suited to a program of Bach, Mozart, and chamber orchestra sized Strauss. Opening with Bach’s Orchestral Suite No. 3 allowed the audience to acclimatise to the sonority of the reduced string section in a work rich with tonal contrast. The lightness and grace of the opening overture were bookended by the joyous, rollicking final movement. The well known Air (“Air on the G string”) drew a focused silence of admiration from the audience. A personal highlight was Laurence Matheson’s sensitive harpsichord accompaniment; employing the lute stop, the instrument emerged effortlessly through the texture, offering something new to the familiar. Martin’s charismatic conducting, no baton and full of gesture, showed the shape of phrases, and also set the mood for what was about to come.
Having a conductor perform as soloist is not unheard of, but is still a rare treat; having Martin perform was certainly an audience drawcard. Jaime undoubtedly has charisma. The walk onto stage, the cheeky grin to the audience all built connection that was only enhanced by his playing. The crisp articulation of the opening movement of Mozart’s Flute Concerto in G major enabled the instrument’s softer dynamic to project with clarity, while directing from the flute emphasised the conversational interplay between soloist and strings.
The opening flute solo of the second movement was full of space and unrushed, a character Martin had subtly foreshadowed in the first movement’s cadenza. The purity of his upper register carried effortlessly through the hall, and despite the expansive phrasing, the orchestra maintained a compelling sense of forward momentum.
For listeners accustomed to more overtly virtuosic concerto finales, the gentler concluding minuet can sometimes feel understated. Here, however, Martin’s evident delight in performance proved infectious. The stately opening gradually gave way to buoyant energy as he engaged playfully with the orchestra, shaping lines and exchanges with wit and elegance. Three curtain calls testified not only to the musical success of the performance, but also to the affection Melbourne audiences clearly hold for him. A Telemann encore, supported by a solo cello bass line, was warmly received.
The second half was devoted to Richard Strauss’s Le bourgeois gentilhomme. Despite being scored for an orchestra of only 36, all tonal basses were covered. Harp, full winds with contrabassoon, piano, trombone and 6 percussionists had moved onto the now full stage. Recently appointed concert master Natalie Chee was given much opportunity to shine. She threw off the extended virtuosic lines with seeming ease, yet also lead the small string section with assured conviction and style. Like many in the audience, I hope we see more of Natalie in future solo opportunities.
In many respects, the work functioned as a concerto for orchestra, offering solo moments to nearly every section and making individual distinction difficult. For regular MSO listeners, it provided many welcome glimpses of familiar musical heroes in moments ranging from refined lyricism, to grandeur and formidable power.
Photo credit: Nico Keenan
