Mostly Mozart 2026: Morning Concerts at Melbourne Recital Centre
Morning tea, marvellous music and a touch of Mozart magic — the 2026 Mostly Mozart season is here.
For more than a decade, Mostly Mozart has been one of Melbourne’s most cherished classical traditions. Presented by Melbourne Recital Centre and the Australian National Academy of Music (ANAM), this beloved concert series celebrates Mozart’s brilliance — and the rising stars keeping his spirit alive.
Held four times a year at 11 am in the stunning Elisabeth Murdoch Hall, each one-hour matinee pairs ANAM’s exceptional musicians with guest artists and directors. Arrive from 10 am for complimentary morning tea — a delicious start to a truly uplifting morning of music.
Morning Music: Mostly Mozart 2026 Season
The Mostly Mozart 2026 season spans April, May, September, and October, offering audiences four carefully curated programs that blend Mozart’s brilliance with unexpected discoveries from other great composers.
Each concert features a program that’s about 80 to 90 per cent Mozart — true to the series’ name and spirit.
In our experience, we find the morning tea delightful and the music absolutely exquisite. This is one special concert series we happily recommend.
Angie’s review
Have you ever had the pleasure of visiting the Melbourne Recital Centre?
The title of Mostly Mozart sparked my interest and this became my first ever performance in the MRC space. One of the benefits of reaching Seniors status is having the ability to embrace more first-time experiences. It was my first musical experience held as a morning session and it was the first time I’d been offered morning tea, along with many other Mozart lovers, as part of the ticketing package. It was also the first time I learned about ANAM – The Australian National Academy of Music, where aspiring young musicians spend a year honing their considerable musical talents in preparation for a career in the professional world of classical music.
Once seated, I had an opportunity to take in the performance space. The auditorium is designed for optimal acoustics, the stage was set and we waited in anticipation for the program of Mostly Mozart to begin. Our host was the Melbourne Recital Centre’s Director of Programming, Iain Grandage and he set the audience at ease with his warm welcome & infectious enthusiasm for the musical artists we were about to hear. It’s wonderful to feel we were there to simply enjoy the music.
The opening piece was a spritely performance of La Marseillaise played four hands (two pianists seated side by side) followed by two dreamy sonatas, each played four hands. While losing yourself in the exquisite sound of the piano, the performers’ faces reflected much of their own personalities & style, from intense concentration to pure joy & synergy as each pair of performers merged as one to entertain us.
In preparation for the final performance of the morning, we were able to watch the stage crew in action. The grand piano was modified and repositioned and the stage was rearranged for the 27 musicians who would play. Stage side doors opened & shut with minimal distraction and it gave us the opportunity to imagine the life of a performer & the backstage support needed to pull off each performance at the Melbourne Recital Centre.
The musicians took their place to play Piano Concerto No. 25 in C Major K.503, with Paavali Jumppanen, artistic director of ANAM, on piano. The talent on stage was phenomenal throughout the morning’s hour long experience with Mozart. These are all musical performers with careers which I’ll enjoy following closely well into the future.
After the program finished, I walked just a few metres to the tram stop and hopped on the Route 1 East Coburg tram back into Flinders Street Station, although I was tempted to walk back into the city, calling into the NGV or The Arts Centre to check out the new & upcoming events.
Morning Music: Mostly Mozart 2026 Season
Concert One: Mannheim to Paris
11 am, Wednesday 1 April 2026
Director: Carla Blackwood (Horn)
Performed by: ANAM Musicians
Mozart once declared his Quintet in E-flat Major “the best thing I have written in my life” — and it’s easy to hear why. This opening concert brings together winds and strings under the direction of acclaimed horn player Carla Blackwood, exploring the composer’s rich harmonic textures and lyrical conversations between instruments.
Mozart’s radiant quintets frame Louise Farrenc’s Sextet in C Minor, a lively and melodic gem from a French composer only now receiving her rightful recognition. With its warmth, charm, and depth, this program offers a perfect morning of classical conversation — across eras, instruments, and moods.
Concert Two: Mozart & the Bach Sons
11 am, Monday 4 May 2026
Director: Shaun Lee-Chen (Violin)
Performed by: ANAM Orchestra
When Mozart met Johann Christian Bach as a child, the encounter shaped his musical path. In this fascinating program, the ANAM Orchestra under the direction of violinist Shaun Lee-Chen (Concertmaster, Australian Brandenburg Orchestra) traces Mozart’s relationship with the Bach family through four symphonic masterpieces.
From Mozart’s youthful Symphony No.1 to his vibrant ‘Paris’ Symphony, and alongside works by both J.C. and C.P.E. Bach, this concert reveals the musical conversations that bridged generations — moments when innovation passed from one great mind to another.
Concert Three: Play with Fire
11 am, Thursday 3 September 2026
Director: Sharon Grigoryan (Cello)
Performed by: ANAM Orchestra
What happens when composers play with fire? This bold, high-energy program explores the theme of flame — from its quiet spark to its consuming blaze.
Haydn’s aptly nicknamed ‘Fire’ Symphony sets the tone, followed by the intense rhythms of De Falla’s Ritual Fire Dance, the flickering colours of Debussy’s Feux d’artifice, and the searing mysticism of Scriabin’s Vers la flamme.
Mozart’s jubilant ‘Haffner’ Symphony brings the performance to a radiant close — proof that even in his most fiery moods, Mozart’s brilliance burns bright with celebration rather than destruction.
Concert Four: Piano Concerto No.21
11 am, Thursday 29 October 2026
Directors: Stefan Cassomenos (Piano) & Philip Arkinstall (Conductor)
Performed by: ANAM Orchestra, Winds, Brass & Percussion
The final concert of the 2026 Mostly Mozart series shines a spotlight on one of Mozart’s most cherished works — the Piano Concerto No.21. Renowned for its graceful melodies and lyrical Andante, this radiant concerto provides a fitting finale to a year of musical brilliance.
Opening the program, ANAM’s percussionists perform Nigel Westlake’s Omphalo Centric Lecture, a joyful marimba quartet inspired by Paul Klee’s artwork of the same name. Its rhythmic energy and warmth set the tone for a vibrant morning.
Stravinsky’s Symphonies of Wind Instruments follows, an evocative and inventive tribute to Debussy that highlights the expressive power of ANAM’s wind and brass players. Under the direction of Stefan Cassomenos and Philip Arkinstall, the performance brings together three centuries of musical innovation — from Westlake’s modern wit to Mozart’s timeless mastery.
A Conversation with Carla Blackwood
Carla Blackwood — ANAM alum and horn faculty member — brings a deep connection to Mozart’s music, both historically and personally. Her insights add a rich layer to understanding what makes Mostly Mozart such a rewarding series for performers and audiences alike.
Mozart’s Music: Human, Deep, and Endlessly Rewarding
“For me personally Mozart is some of the most human music, and is eternally rewarding to listen to and play…”
Carla describes Mozart’s writing for horn as some of the greatest ever composed, perfectly capturing the emotion and colour the instrument can express. Performing on historical natural horns opens an entirely different sound-world for her — one that feels alive, imperfect, and wonderfully freeing.
Bringing Fresh Interpretations to Familiar Works
“I find that performing Mozart is a kind of ‘forever project.’ Every single time I perform Mozart I find new layers of meaning…”
For Carla, interpretation is shaped by the moment — the performers, the space, the mood, and her own inspirations, whether landscapes, artworks, or lived experiences. Mozart’s music, she says, is so alive that it constantly reveals new possibilities.
Mozart in Australia: A Surprising History
“Something that surprised me in this research was to discover that small groups of wind instrumentalists — known as Harmonie — were in Australia from the very start of white settlement…”
Carla’s PhD research uncovered tantalising evidence that skilled European wind players, including Germans, were in Australia in the late 18th century — the same types of musicians who performed Mozart’s works in Vienna. It’s possible that Mozart’s music was played here as early as the 1790s.
What Should Audiences Take Away
“I hope that audiences enjoy some respite from every-day busy-ness, and come away with a sense of having connected to the timeless humanity within Mozart’s music…”
Carla hopes people leave Mostly Mozart feeling grounded, inspired, and more connected — to themselves, to each other, and to the quiet magic that music brings into our lives.
Terrie’s review
Going to see Mostly Mozart at the Melbourne Recital Centre was one of my favourite events of the year. On arrival, we were treated to a tasty morning tea. It was my first time at the Melbourne Recital Centre, and what an amazing building it is. It was a privilege to watch and listen to such beautiful music — I’m in awe of the musicians’ talent. I’m not educated in classical music at all, but I couldn’t help being swept up in the wave of joy that filled my heart and soul.
All the performers were excellent. Mr Paavali Jumppanen, the piano director, was simply magic to watch — his fingers moved across the piano keys with such grace and energy.
While the ticket price may be a little high for some, even if I only ever go once, I’ll always remember this performance very fondly and think it was well worth it.
The building is wheelchair, walker and scooter accessible. A little word of warning about the ladies’ toilets though — the small black and white tiles and glitzy lighting look stunning but can be a bit dazzling at first, so give yourself a moment to adjust before stepping further in!
Insights from Paavali Jumppanen
Artistic Director, Australian National Academy of Music
The position of ANAM Artistic Director is generously supported by Janet Holmes à Court AC, and Rosemary and the late John Macleod.
Mostly Mozart has grown and reshaped itself over the past decade, and ANAM Artistic Director Paavali Jumppanen says that evolution reflects a broader shift in how classical music is programmed today.
“Where focus a decade ago might have been on presenting ‘great works’, today the emphasis is more in story-telling and contextualising the classics,” he explains. “It’s a great testimonial to how classics survive time and find new meanings.”
At the heart of the series is a partnership that simply works. Paavali describes performing at Melbourne Recital Centre as “a privilege”, with its superb acoustics and unmistakable sense of joy shared between players and audience. For ANAM’s young musicians, it’s also a place to test their craft: “We have some of the country’s most well-respected and internationally recognised faculty helping them achieve their best. When they’re on the MRC stage, you can really witness that.”
Balancing tradition with innovation comes naturally when programming Mozart, Paavali says, because the composer himself was an innovator. His works were closely tied to the world around him — from fashionable Turkish influences to echoes of early revolutionary melodies — which makes them ideal to present alongside music from other eras with similarly bold ideas. “Storytelling through programming is very inspiring,” he says.
He’s also a champion of the 11am format, describing it as a joyful way to start the day. “Much of Mozart’s music is full of liveliness and positive energy. A day beginning with a bit of Mozart is always a happy day.”
And for Melbourne’s music community — including many listeners over 60 — Mostly Mozart offers something deeper. “Listening to Mozart, we can get closer to the people who were there when this music was created,” he says. “That’s part of why great music feels timeless. Mozart’s certainly is.”
Tickets & Booking Information
Subscriptions:
Available from 12pm, Wednesday 12 November 2025
Four Concert Package: $177 Standard / $156 Concession (25% discount)
Three Concert Package: $141 Standard / $123 Concession (20% discount)
Tip: If you book a four-concert package (all four of the 2026 Mostly Mozart concerts), you get to select the same seat for all four of those concerts! Then, each year you’ll get priority access to that same seat.
Single Tickets
Available from Monday 15 December 2025
Adult: $59 | Concession: $52 | Student/Under 40s: $49
Groups of 10+ receive a 15% discount on single ticket prices.
Member discounts
Music lovers, this one’s for you. Make the most of Melbourne Recital Centre’s full program of music events with an annual membership. From Mostly Mozart matinees to world-class evening performances, members enjoy waived booking fees, ticket discounts, exclusive offers, and 10% off at the foyer bars and Blondie Bar next door. You’ll even receive free access to guided tours for you and a friend.
At just $50 for the basic membership, it’s a wonderful way to experience more of the music you love — with a few extra perks along the way.
Learn more about MRC Memberships here.
How to Book
You can book online at melbournerecital.com.au. Or contact the Melbourne Recital Centre Box Office:
03 9699 3333 | boxoffice@melbournerecital.com.au
The Box Office is located in the ground level foyer at Melbourne Recital Centre. The Box Office is staffed Monday – Friday, 11am – 5pm, staying open for ticketed events on weeknights and open one hour prior to all ticketed events on weekends and public holidays.
Planning Your Visit to Melbourne Recital Centre
Address: 31 Sturt Street, Southbank VIC 3006
The Melbourne Recital Centre is one of the most accessible and comfortable concert venues in the city—perfect for relaxed and elegant evenings out.
Accessibility
- Step-free access is available from street to seat, with lifts and friendly staff ready to assist.
- Elisabeth Murdoch Hall is fully accessible, with lift access to all levels, accessible seating and hearing loops are available—just mention your needs when booking.
- There’s a drop-off zone right out front for passengers who require mobility assistance.
- For specific accessibility needs, patrons are encouraged to contact the Box Office before attending.
Getting There
- By tram: The most convenient stop is Arts Precinct, Sturt Street (Stop 17) on Route 1, right at the Melbourne Recital Centre’s doorstep. This platform stop offers level access to low-floor trams, passenger shelter and protection from traffic. Alternatively, you can hop off at Stop 16, in front of the National Gallery of Victoria, and enjoy a short 200-metre stroll down Southbank Boulevard. This stop is serviced by Routes 1, 3, 5, 6, 8, 16, 64, 67 and 72.
- By train: The nearest station is Flinders Street. It’s about a 15-minute walk or a quick tram ride. Note: Occasionally trams may be delayed or diverted due to city events, so allow a little extra time just in case.
- By bus: Several routes stop nearby.
- By car: Limited paid parking available at the centre and nearby Arts Centre car park.
Nearby amenities
Southbank’s many cafés and restaurants are within walking distance, making it easy to enjoy a meal before or after the show. If you’re thinking of making a night of it, read our list of recommended CBD hotels.
Heading off on your own Melbourne adventures? Join our Facebook Group and share your stories, ask questions and connect with others for further inspiration.
This sponsored article has been published in collaboration with Melbourne Recital Centre.
The Seniors in Melbourne team were hosted to attend a concert for review. All opinions are the writers’ own.
