The QSO presented its first QSO Portraits for the year on Friday, 13th February 2026, at the Queensland Conservatorium Theatre. Alison Mitchell, Section Principal Flute, with Umberto Clerici, Chief Conductor, curated the programme from highlights of Alison’s career.
The QSO opened with Alison and the QSO together playing all three movements of Carl Reinecke’s Romantic “Flute Concerto” in D Major. Alison danced her way through the Concerto, sharing the wonders of her flute with the audience. The music was lyrical and cheerful, and the audience was delighted. The flute is a demanding instrument and, like all wind instruments, requires close personal input from the musician. As we shared our enthusiasm for Alison’s playing, I wondered how she would continue throughout the whole programme. But of course, the programme consisted of music that was meaningful to Alison. She wasn’t required to play every note of every piece, out front. I was much relieved for her when I noticed.
The remainder of the programme was a hybrid symphony consisting of one movement each of the symphonies of Dvořák, Schumann, Mendelssohn and Sibelius. This approach was refreshing, not only because it told the story of her career, but also because it enabled us to listen to great music from the Romantic era.
The second piece was Dvořák’s Symphony No. 5 Allegro ma non troppo, Op 76. For this, Alison retired to her normal position within the QSO, leaving us to enjoy this pastoral symphony of light and life.
Schumann’s Symphony No. 2 in C Scherzo (Allegro vivace) Op. 61 is from an earlier period and is vivacious with a light, quick pulse. It energised the audience, leaving us grateful and looking forward to the Mendelssohn piece.
Felix Mendelssohn is Fanny Mendelssohn’s famous brother. This symphony, called “The Scottish Symphony”, was Felix’s own work. Symphony No. 3 in A minor, Op. 56 evolved over 13 years. It began when he was in Scotland, and the early part faithfully captures the vast horizon and the drizzly weather. The latter parts were added after he left Scotland. Alison Mitchell played with the Scottish Chamber Orchestra and the Orchestra of Scottish Opera. The Adagio movement of this symphony was a tribute to that part of her career.
Lastly, the latter part of Sibelius’ Symphony No 7 livened us for the trip home. We’d been lulled into a sense of serenity when the QSO woke us with Sibelius’ big sound. It was majestic and, as the tension was released, we left the theatre contented to wander home humming.
I’m sorry I missed the next QSO Portrait concert with Principal Harp Emily Granger on 14 February. Future concerts are selling out, so book here to secure your seat in the “Feel Every Note 2026 season”: https://qso.com.au/.
Kerry McGovern
Photo: QSO
