After spending her professional life performing across Europe’s most prestigious stages, Sydney-born violinist Natalie Chee is ready to make Melbourne home. As the MSO’s new Concertmaster, she brings not only exceptional artistry but a refreshing perspective on leadership, collaboration, and the magic that happens when musicians truly connect.
Coming home: Natalie Chee's musical journey to the MSO
Words: Nicole Lovelock
Photos: Daniel Boud. Supplied by Australian World Orchestra
“It wasn’t really in my plan to come back to Australia as I was quite settled in Europe,” Chee shared. “But the MSO kept the conversation going, and each time I played with them, something clicked. Suddenly, I could imagine doing this.”
That ‘something’ reflects both the Orchestra’s persistence and Natalie’s ability to adapt — a skill she believes stems from her Australian background. “Australian musicians generally are very flexible,” Chee observed. “We have a lot of antennas and we pick up on things quickly.”
This adaptability has served her well throughout her international career. From her early role as Concertmaster with Camerata Salzburg, to her recent position with the Gürzenich Orchestra in Cologne, Chee has an innate ability to understand each orchestra’s unique character while bringing her own steadying presence.
Her musical journey began in characteristically Australian fashion. Her mum simply looked up Yamaha in the phone book when young Chee started picking out melodies on the piano at age three. The Yamaha Music School’s group-based approach, emphasising rhythm, singing and joy before individual technique, laid a foundation that still influences her approach to music-making today.
“For me, music is about collaboration,” she reflected. “The beauty of the Orchestra is being able to make music together.” This collaborative spirit shines through in her partnership with Chief Conductor Jaime Martín. “There was immediate trust,” Chee explained. “He’s also an excellent flautist, so he knows exactly what it’s like to sit on the other side of the fence. Musically, I understood immediately what he wanted. He leads with the heart and I really get that.”
For Chee, the Concertmaster role is less about authority and more about service. “I see myself as part of a group, steering us as we work together to make this great thing happen.”
This team-first philosophy, combined with what colleagues describe as a naturally calming presence, promises to bring a distinctive energy to the MSO. “It’s important that people have the feeling that you’re in control and that they can trust you,” she notes. “If that’s what I bring, then I’m really happy.”
“It’s important that people have the feeling that you’re in control and that they can trust you. If that’s what I bring, then I’m really happy.”
While contractual obligations see her officially taking up the MSO Concertmaster post in early 2026, gaps in her schedule allowed her to take part in the MSO European tour in August.
“The tour was fantastic timing as it gave the Orchestra and me a chance to bond,” said Chee. “It’s a different environment to being at home in the rehearsal and performance routine, and I was able to see how they reacted under pressure. The Orchestra did an amazing job and were above and beyond anything I could have imagined.”
“Hamburg was a highlight. The hall was stunning and it was absolutely packed, we played with William Barton, the program was the right program. It was a packed theatre, as were all of the performances, but the audience were so vocal and appreciative — it was very memorable.”
For an artist who never expected to return to Australia, Natalie Chee seems to have found exactly where she belongs. As she puts it simply: “It’s just exactly the right time for me to come home.”
This article originally appeared in Full Score: December 2025