Maestro 2: Respighi, Higgins & Strauss

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https://www.qpac.com.au/whats-on/2026/qso-maestro-2-respighi-higgins-and-strauss

Date Reviewed: 18/04/2026

I can be quite particular when it comes to classical music, often preferring the dramatic force of Beethoven and the lyrical intensity of Chopin. For that reason, Maestro 2: Respighi, Higgins & Strauss was not necessarily a program I would have been immediately drawn to on paper. Even so, I am pleased to say that the performances on the night proved to be a genuine pleasure to witness.

Despite not being the kind of program I would usually be drawn to, the Queensland Symphony Orchestra started the evening strongly with Respighi’s Trittico Botticelliano. The first movement, La primavera (Spring), was my favourite of the three, opening the night with a bright and light-hearted melody that felt fitting for the season that inspired it. The transition into the second movement, L’adorazione dei Magi (Adoration of the Magi), felt quite jarring to me. I do not think that was any fault of the Queensland Symphony Orchestra, but I found the much softer woodwind solos harder to stay engaged with, particularly towards the end of the movement, as it settled into a more lingering and subdued melody. This, however, led beautifully into the third and final movement, La nascita di Venere (The Birth of Venus). The Queensland Symphony Orchestra did an excellent job of immersing the audience in its vibrant and expressive melody, creating a dreamlike atmosphere that I found especially compelling.

From there, the program moved into very different territory with Gavin Higgins’ Book of Miracles. I wasn’t quite sure what to expect, as I was unfamiliar with the work, but I found myself intrigued by the idea of a manuscript inspired by Biblical themes. It was unlike anything I had experienced before, and Helen Vollam was, for me, the clear standout of the performance, with her solo playing at the heart of the piece. As its focal point, she drew the ear immediately, and I was honestly taken aback by her skill. The way Helen Vollam moved through her solo was remarkable; it is rare to hear a brass performer play with that kind of speed, control and assurance, yet she seemed to do so with ease. Her performance was so controlled and assured that I had the sense she still had more in reserve. If the opportunity arises again, I would love to experience her playing once more.

Following the unfamiliar terrain of Book of Miracles, Strauss’ Aus Italien brought the evening to a confident and satisfying close. It felt very much like a work of its time, and the Queensland Symphony Orchestra did an excellent job of bringing it to life. They captured the spirit and scale of the piece beautifully, with Riccardo Minasi doing an impeccable job of holding it all together. It was a fitting conclusion to a program that revealed more than I had expected.

 

Reviewed by Joel Yap