We sat down with Natalie Chee to find out more about her return to Australia after spending many years in Europe, her relationship with classical music, and her process as a musician.

Congratulations on your newly appointed role as Concertmaster of the Melbourne Symphony Orchestra! It is very exciting to have talent such as yours on Australian shores.  

Having spent a large part of your career living and working in Europe, what were you most excited for on your return to Australia?

I am excited to have the opportunity to work with more Australian musicians and for Australian audiences.  Australia has a great music scene and audiences are so receptive and warm.  I like the feeling of intimacy you get when performing in Australia. 

Each orchestra or ensemble has its own distinct sound. How does sound become uniquely shaped in your experience of playing in different countries, halls and with various ensembles?

I have always learnt a great deal from every orchestra and chamber group that I have worked with.  I am a great believer in flexibility when it comes to sound.  So being able to blend in with the musicians you are working with and creating a unique sound for that particular hall or ensemble is a huge joy.  I am always open to new ideas and inspiration from others and try to integrate everything I experience into my musical personality.

What draws you to playing chamber music?

Chamber music is like life and any close personal relationship you have in life.  You have to be able to maintain your autonomy and individuality whilst existing in harmony with others.  It is a constant dance of give and take.  It is the ultimate musical experience.  

You will be performing Mozart and Françaix in our next concert, Mozart and Françaix both write with great clarity and elegance, but in very different musical languages.

As a performer, what do you find are the biggest stylistic differences between Mozart's wit and Françaix's humour?

As there are around 200 years separating the 2 composers, there are of course many big differences in their styles.  However, Françaix writes in a neo-classical style so it is quite close to Mozart in many ways.  For me, the biggest difference is the 'Germanic' writing of Mozart as compared to the French style of Françaix.  I feel that a composer's spoken language is often mirrored in the syntax and phrasing of their music.  Playing Mozart and Françaix in one concert is like having to speak 2 different languages.  But even though their languages are different, they both express great wit and lightness and can be universally understood.  I think they would have gotten on very well if they had known each other! 

How do you prepare for a performance? Do you have any concert day non-negotiables?

It is definitely important for me to be well prepared and to go on stage confident that I have done my best to ensure the best result possible.  If I do that, I feel good and know I will enjoy it.  I do love to have an afternoon nap when I have an evening concert.  And I try not to have any other appointments on that day. 

What is one piece of advice you would give to emerging classical musicians?

I would say young musicians should be open to every experience that life throws their way.  They should grab every opportunity to do and learn something new.  Always be respectful - there is something to be learned from everyone and every experience. 

Book here to see Natalie Chee perform at Australia Ensemble Concert 3 2026.