Qld Pops Orchestra 40th Anniversary NYE Gala Concert

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Tue 31 Dec 2024

Under the indefatigable baton of Patrick Pickett, the Queensland Pops Orchestra delivered a celebratory New Year’s Eve concert which marked the 40th anniversary of this beloved Brisbane institution, a milestone that was met with the grace, elegance, and flair that we’ve come to expect from the Pops.


From the opening notes of Earth — a stirring and evocative work from the Concerto for Didgeridoo by Sean O’Boyle, performed by the indomitable Chris Williams — we were immediately reminded of the diversity and vibrancy that this orchestra has championed for decades. The sound of the didgeridoo resonated through the grand Concert Hall, a cultural bridge between ancient and orchestral traditions. This embodied a welcome to country.

We Are Australian, written by Bruce Woodley and Dobe Newton, was equally evocative, a nostalgic yet powerful anthem that brought a tear to the eye and a lump to the throat. Williams, with his astonishing didgeridoo artistry, seamlessly blended Australia’s Indigenous sounds with the orchestral might behind him.


The Pops’ range was further showcased in a dazzling array of classical and operatic works, with Dvo?ák’s Slavonic Dances and Song to the Moon from Rusalka featuring the divine Nina Korbe, who continues to impress with her luminous soprano. Her voice was, as ever, rich and commanding, particularly during Song to the Moon. This was the soprano who enchanted us in “Pirates of Penzance” showing us another side to her talents. But it was Strauss’s Laughing Song from Die Fledermaus that saw her in truly radiant form, delighting in the aria’s playful exuberance. If you weren’t already swept up by the celebratory atmosphere, Korbe’s spirited rendition was all but guaranteed to lift your spirits. This lady can sell a song. And it was a bonus that she is an active and effective First Nations representative.

The ever-charismatic Billy Bourchier was another standout, his performance of This Is The Moment and Take Me As I Am from Frank Wildhorn’s Jekyll & Hyde displaying his capacity to operate in both operatic and musical theatre modes. The orchestra’s rich, sweeping arrangements, with a very strong brass section, made a very strong backing to Billy singing his heart out.

The first half culminated in an exhilarating performance of Scotland the Brave and the exuberant Highland Cathedral featuring the pipes of pipe major Bruce Grice – we were expecting him, and no New Year’s Eve would be complete without him, both as a solo performer and as a wonderful accompaniment to Celtic dancers.

The presence of the brilliant OzScot Highland Dancers and the extraordinary piper Bruce Grice added a visual and auditory spectacle that was nothing short of thrilling. Grice’s skill on the bagpipes, together with the dancers’ precise, graceful movements, made for a magnificent celebration of Scottish heritage, one that the audience cheered with unabashed enthusiasm.


The second act provided more sublime moments, particularly the Borealis Quartet’s performance of Elgar’s Introduction and Allegro for Strings. Formed in 2000, in the city of Vancouver, British Columbia, this quartet has since risen to the heights of musical acclaim, garnering admiration from audiences and critics alike for their exuberant performances, and impassioned style thrilling packed houses in the cultural capitals of the world: New York, Washington, Los Angeles, and Rome, to name but a few. Cities such as Shanghai and Taipei, Ottawa and Montreal, have borne witness to their artistry, each performance a testament to their commitment and virtuosity. Patrick Pickett was thrilled to have persuaded them to add the New Year’s Eve performance to the masterclasses they are conducting in Brisbane.

Another undeniable highlight came with Barcelona, Freddie Mercury and Mike Moran’s operatic duet, beautifully rendered by Bourchier and Korbe, who perfectly captured the passion and grandeur of the original. The orchestral arrangements, lush and full-bodied, enhanced the operatic textures of the piece, and the audience, delighted by the vocal gymnastics on display, were deservedly enthusiastic in their applause. Korbe let her operatic voice loose, rich, resonant and thrilling and Bourchier channelled his inner Freddy Mercury. Just wonderful.


There was something distinctly joyous about the evening’s program — it was a wide-ranging celebration of musical styles and traditions, from the classic to the contemporary. The inclusion of I Could Have Danced All Night from My Fair Lady and Anthem from Chess injected a theatrical charm that had the audience clapping and singing along. And of course, the grand finale, Auld Lang Syne, brought the evening to a jubilant close, with the entire cast joining the orchestra in a stirring rendition that had the audience on their feet, singing along as one.


And throughout there was the presence of the Resonance of Biralee singers, both with excellent backing for our soloists, and as stand-alone a capella singers – in particular, their rendition of “A Parting Glass” was spell-binding in its beauty.

The evening was more than just a concert — it was a statement. A statement about the enduring relevance of this orchestra and the deep connection it has fostered with the people of Queensland. A statement about the power of music to transcend boundaries, forge connections, and create a sense of community. Patrick Pickett, in what may be his last hurrah (though it remains to be seen whether this fourth “retirement” will be permanent), conducted with a sense of pride and joy, overcoming, one suspects, some physical challenges to remain on top of the evening.

The Queensland Pops Orchestra’s 40th Anniversary New Year’s Eve Gala was a thrilling reminder of the power of live music to unite, uplift, and celebrate the human spirit.

A worthy prolegomena to a new year.

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