On 4th October 2025, audiences gathered at the Concert Hall, QPAC for a stirring performance of Verdi’s Messa da Requiem. Conducted by Umberto Clerici and featuring soloists Eleanor Lyons, Deborah Humble, Matteo Desole, and Warwick Fyfe, alongside the Brisbane Chamber Choir Collective and the Queensland Symphony Orchestra, the evening delivered a powerful and emotionally resonant musical experience.

Walking into the concert hall for Queensland Symphony Orchestra’s performance of Verdi’s Requiem, there was a sense of intrigue and building suspense. The presence of the Brisbane Chamber Choir Collective added to the anticipation, hinting at the dramatic layers to come. It’s always interesting to think about how this venue transforms - from hosting graduation ceremonies to becoming a space where the full depth of musical expression can be experienced. The orchestra, with its full body of strings, woodwinds, brass, percussion, and keyboard, alongside the pipe organ and vocalists, promised a rich and immersive evening.

The audience was mostly older, with plenty of grey hair in the seats, but it was heartening to see families and younger kids attending too. Hopefully, QSO’s upcoming season - especially with its modern themes around gaming and animation - will continue to attract younger audiences and make classical music more accessible to new generations.

Verdi’s Requiem is often called an “opera in disguise,” and this performance made that clear. The soloists showed off their full vocal range, bringing drama and emotion to the stage. But the moments that stood out most were when the Brisbane Chamber Choir Collective added their voices to the mix. Their opening and closing contributions were powerful, sending chills through the hall. It felt like their voices were weapons, aimed with precision into the far corners of the space. The musicians, too, played with intensity - strings were struck and plucked with force, brass surged, and percussion thundered. It was as if every performer was physically channeling the emotion of the music through their instruments.

One detail that added depth to the performance was the inclusion of female vocalists. Historically, women were not allowed to sing in Catholic church settings, so hearing their voices in this context was a reminder of how far we’ve come. Their presence added richness and dimension to the piece.

The soloists interpreted their roles with flair, leaning into the operatic nature of the music. At times, it was easy to forget this wasn’t an opera - it was a concert performance. Their voices layered beautifully over the orchestra and choir, creating a complex and emotional soundscape. The choir brought both power and nuance, and their absence in certain sections left a noticeable gap. I found myself wanting to hear more from them throughout the piece.

Conductor Umberto Clerici led with grace and control. His experience was clear in the way he shaped the performance, guiding the orchestra and vocalists with steady hands. The interpretation felt traditional, though the theatricality of the soloists made me wish for a visual element - something like operatic staging - to match the emotional intensity of the music.

Emotionally, the performance made me reflect on the history of artistic expression, especially for women. The layering of female soloists, choir, and orchestra created a rich and moving experience. While the performance didn’t offer new insights into the piece, it reinforced the timeless power of Verdi’s work. I’m curious to see how QSO’s upcoming season might refresh the repertoire and bring new perspectives to familiar works.

Overall, I’d recommend seeing QSO live, especially as they continue to evolve. This performance was solid and moving, though not groundbreaking. I left wanting the music to break free from its traditional structure and offer something new - perhaps a modern twist or visual storytelling to help us see the piece in a fresh light.

Words: Joanna Letic

Imagery: Sam Muller