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Symphony Under the Stars

September 8, 2017 @ 7:00 pm - 9:00 pm
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2017 Symphony Under The Stars

Free community concert presented by Gladstone Regional Council and Queensland Symphony Orchestra.

Be serenaded by the magical sounds of the Queensland Symphony Orchestra while surrounded by your family and friends at this FREE all-ages event. Bring along a picnic or select from the onsite food and beverage vendors.

Date: Friday, 8 September 2017
Time: 7pm
Where: GPC Marina Main Stage

Sweet Night Music – Queensland Symphony Orchestra

Conductor Daniel Kossov
Flute Hayley Radke
Soprano Morgan England-Jones

  • Mozart Overture from Magic Flute
  • Mozart Eine kleine Nacthmusik (Sernade, K.525)
  • Vivaldi Concerto for Flute 7 Strings, Op.10

Hayley Radke, flute

  • Barber Sure on this Shining Night for Voice and Orchestra 13. No.3

Morgan England-Jones, soprano

  • Berlioz Nuits D’été, Op.7

Morgan England-Jones, soprano

  • Dvořák Serenade in E major for String Orchestra, Op.22
  • Dvořák Song to the Moon from Rusalka
  • Mussorgsky Night on Bald Mountain (arr. Rimsky-Korsakov)


Wolfgang Amadeus Mozart (1756-1791)

The Magic Flute, K620: Overture


Eine kleine Nachtmusik (Serenade, K525):


Antonio Vivaldi (1678-1741)

Flute Concerto, RV 439 (La notte)

Fantasmi: Presto

Samuel Barber (1910-1981)

Sure on this Shining Night for Voice and Orchestra 13
Hector Berlioz (1803-1869)

Les Nuits d’été, Op.7:
L’Île inconnue 

Antonín Dvořák (1841-1904)

Serenade in E for Strings, Op.22


Rusalka: Song to the Moon
Modest Mussorgsky (1839-1881)

arr. Nikolai Rimsky-Korsakov (1844-1908)

Night on Bald Mountain

Night time can be a useful pretext for enchanting music. It can inspire an actual form, such as the nocturne, or give rise to horrifying visions, as in Night on Bald Mountain.

Mozart’s last opera, The Magic Flute, depicts, in some ways, a battle between night and day, as the Queen of the Night misleads the hero, Tamino, into thinking that her daughter, Pamina, has been abducted by Sarastro, the priest of the Sun. Though deep, The Magic Flute is marvellously entertaining. The Overture expresses those twin characteristics in the elaboration of a main theme by fugal means – learned but airy.

Though Vivaldi’s instrumental works were widely disseminated throughout Europe, he was also known to his contemporaries as a composer of operas, and his instrumental works were influenced by opera’s dramatic pictorial approach. ‘La notte’ has been described as ‘a programmatic, nocturnal narrative’. The opening Largo is eerie and otherworldly. Later, strange tonal modulations help suggest the disorienting influence of night.

Although his name will be forever linked with the Adagio for Strings, Samuel Barber was a fine baritone whose vocal accomplishments sustained a brief professional career. He was a prolific composer of songs, of which Sure on this shining night, from his Op.13 set (1937-40), is one of his most popular. Set to a text by James Agee, its wistful, long-breathed lines evoke the peace and serenity of a summer evening.

The word ‘serenade’ once referred specifically to a work for evening performance. But Dvořák’s work for strings of 1875 partakes of the more general meaning that ‘serenade’ came to have in the late 18th and 19th centuries: that of a work in many movements of varying character. In one literal sense though, the work was of the night. Having begun composing it on 3 May 1875, Dvořák finished it on 14 May at 10pm. Rusalka, Dvořák’s most beloved opera, concerns a water nymph who renounces her immortality in order to pursue a prince. The moon becomes an actual plot device as Rusalka prays to the celestial object to ask her lover to wait for her.

The title of Mozart’s ‘K525’ actually means ‘a little (or small) night music’, but it’s really a translation of the Italian ‘notturno’, and in practice that means the same thing as ‘serenade’ – that is, in the 18th century, a type of music for social occasions, an entertainment. But this late piece of Mozart’s is no mere background music. Its tuneful memorability makes it stand out.

Over many years from 1858, Mussorgsky made several attempts to portray a black sabbath on a Russian mountain at night. Finally, he found a home for such a work as an intermezzo in his final opera, Sorochinsky Fair. Rimsky-Korsakov turned it into a more straightforward tone-poem after Mussorgsky’s death. But the program still concerned ‘Subterranean noises and unearthly voices. Appearance of the spirits of darkness and of the black god…’. Night can be a time of peace and calm and restful entertainment but Mussorgsky reminds us that it can also be a time of nightmarish visions. Fortunately, the ‘village bell’ sounds and his piece ends with daybreak.

The texts for Berlioz’s Summer Nights were drawn from a collection of poems entitled The Comedy of Death. The cycle probably came about during the 1840s around the time of the failure of Berlioz’s marriage to Harriet Smithson. Perhaps the night-time feel is implicit in the subdued manner of the songs and their subtle orchestration. Considered as a group, they suggest an arc in which, according to commentator John Mangum, ‘the longed-for “always” of the first song, Villanelle, becomes unattainable in the last one, L’Île inconnue’.

© Symphony Services International


Queensland Symphony Orchestra

As an arts leader and great Australian orchestra, Queensland Symphony Orchestra (QSO) is renowned for its high quality, breathtaking performances of both classical and modern compositions that engage audiences of diverse musical tastes, interests and ages.

The largest performing arts company in Queensland and the state’s only professional symphony orchestra, Queensland Symphony Orchestra plays a vital role in Queensland’s cultural community, educating; mentoring aspiring performers; touring regional centres; broadcasting and performing with state, national and international ballet and opera companies.

Each year, Queensland Symphony Orchestra attracts the world’s best conductors and soloists as part of its acclaimed concert season, in addition to presenting unique blockbuster events. The Orchestra is passionate about commissioning innovative new programs and Australian works and continues to invest in collaborations, recordings and digital initiatives. In 2016, Queensland Symphony Orchestra engaged with more than 1.2 million people and performed 188 concerts. In 2017, the Orchestra welcomed Alondra de la Parra as Music Director.

QSO’s Music Director is proudly supported by Tim Fairfax AC.


Conductor Daniel Kossov

Former international violinist and concertmaster Daniel Kossov has quickly gained a reputation as an exciting young conductor performing in Australia, New Zealand, Israel and France. Hailed by the Australian press as a ‘master of musical understanding and understatement’ and possessing ‘unfailing taste and refinement’, Daniel Kossov’s artistic language is best described as refreshingly unaffected, sophisticated yet profoundly approachable; drawing the audience’s attention to the clarity of the performance.

A graduate of the prestigious Curtis Institute in Philadelphia, Daniel Kossov is a recipient of the Aspen Music Festival Conducting Fellowship. Daniel Kossov has been mentored by leading conductors David Zinman, Jorma Panula and the late Kurt Masur.

As a violinist, Daniel Kossov became Australia’s youngest ever concertmaster age 23 with West Australian Symphony Orchestra in Perth and two years later was awarded the Centenary Medal for Advancements in the Arts in recognition of his artistic contributions to the community. He has since served as orchestra leader with Melbourne and Jerusalem Symphony Orchestras and has appeared with London and Israel Philharmonic Orchestras.

Daniel Kossov’s passion for chamber music has seen him collaborate with artists from the highest musical echelon, performing alongside principal players from Vienna Philharmonic, Concertgebouw and Philadelphia Orchestras. He has appeared at Verbier Festival and at IMS Prussia Cove, one of the United Kingdom’s most sought-after chamber music events.

Flute Hayley Radke

Hayley Radke was born in the Barossa Valley, South Australia. She completed her Bachelor of Music with First Class Honours and University Medal at the Elder Conservatorium, University of Adelaide, under the tutelage of Elizabeth Koch. During this time, Hayley Radke was the recipient of numerous university and community awards which supported her studies. Hayley Radke continued her studies at the Australian National Academy of Music in Melbourne on full scholarship with Margaret Crawford and Geoff Collins. She has participated in numerous masterclasses in both Australia and Europe; her favourite classes including those with Sophie Cherrier, Wissam Boustany and Emily Beynon.

Hayley Radke has held the position of Associate Principal Flute with Queensland Symphony Orchestra since 2008. She particularly enjoys performing the music of Bach, Dvořák, Mahler and Prokofiev with the Orchestra, as well as playing all manner of chamber music with her friends.
Soprano Morgan England-Jones

Morgan England-Jones is a thrilling young soprano, hailing from Mackay, Queensland. Trained by her mother Vicki Jones, she was the recipient of numerous bursaries and aggregate prizes, including Champion Dramatic Soprano with Queensland Heritage Eisteddfod in 2013, Best Performance with North Queensland Eisteddfod in 2013 and two-time semi-finalist of Dame Joan Sutherland Memorial Scholarship in 2012 and 2014 with Sydney Eisteddfod.

Morgan England-Jones graduated from Queensland Conservatorium with a Bachelor of Music (Performance) in Classical Voice in 2013, where she trained with Lisa Gasteen. She completed her LMusA in Classical Voice (AMEB) in 2015, her Trinity-Guildhall ATCL in Musical Theatre in 2009 (Honours, Best in Queensland) and her AMusA in Classical Voice (AMEB) in 2010. Morgan England-Jones has had the privilege of featuring as a soloist with Musica Antiqua Collegia (Josephine in HMS Pinafore, soloist in They Called Her Moses), the Bach Chorale & Flagged Productions, as well as the Mackay Choral Society (Handel’s Messiah, Bach’s Christmas Oratorio).

More recently, Morgan England-Jones took part in the 2016 Lisa Gasteen National Opera School, gaining praise for her performances as Diana (Orpheus in the Underworld) and Frau Fluth (Die lustige Weiber von Windsor). This year, Morgan England-Jones is pleased to be re-joining the school, as Micaëla in Queensland Symphony Orchestra’s Carmen In-Concert.



Date: September 8, 2017
Time: 7:00 pm - 9:00 pm
Event Categories: ,


Venue Name: GPC Marina Main Stage
Address: Bryan Jordan Drive
Gladstone, Queensland 4680 Australia

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