When MSO Concertmaster Natalie Chee leads the orchestra in Strauss & Mozart, she’ll hold a position that one remarkable woman claimed more than a century ago.
With International Women’s Day on Sunday 8 March, we’re taking a moment to celebrate the story of Bertha Jorgensen, who joined the MSO as a musician in 1920 and by 1923 was leading the largely amateur orchestra. In 1927 Bertha relinquished her role when the MSO merged with the University of Melbourne Conservatorium Orchestra, but returned to the position in 1944, becoming the first female concertmaster of a professional orchestra – a trailblazing world first.
The MSO proudly celebrates its 120th anniversary this year. Trace a line through its history and you’ll find these two exceptional women standing at pivotal moments. The MSO had been established for 14 years when Bertha, a prodigious 16-year-old violinist, accepted Alberto Zelman’s invitation to join his ensemble as first violin, later rising to the position of Concertmaster and making history. In 2026, Natalie stands on the shoulders of Bertha’s impressive legacy, carrying it forward for a new generation.
A different world
To understand the magnitude of what Bertha achieved, it’s useful to understand her world. Non-Indigenous women in Australia had only recently won the right to vote in federal elections. Most professions remained closed to women and they were not allowed in certain public spaces. The idea of a woman leading an orchestra was almost unthinkable. Yet the MSO, in its infancy, appointed a woman to its most prominent chair.
It was not all smooth sailing. She faced conductors who were openly prejudiced against her gender and slight stature. An article published in 1948 noted that she won them over through ‘professionalism and musical reliability’, refusing to bow to the gender norms of the day. When she broke her wrist ice skating, threatening to end her career, she returned to the violin ‘only through sheer determination.’ She was steadfast, resilient and strong.
Former MSO cellist Valerie Awburn speaks about Bertha Jorgensen
Bertha’s legacy
‘Bertha’s story is both fascinating and inspiring,’ says Natalie Chee, who joined the MSO this year as Concertmaster. ‘It’s astonishing that a woman in those times led an orchestra, let alone an orchestra in Australia! I can only imagine the difficulties she must have faced.’
What strikes Natalie most is what Bertha’s appointment says about this progressive city.
‘There are some orchestras in the world who have never had a female leader to this day, and many who have only very recently appointed women in leading roles on any instrument. Bertha’s story says a lot about the MSO and Melbourne in general.’
The MSO’s willingness to appoint Bertha established something special in the DNA of the organisation; a commitment to recognising excellence wherever it appears, and a willingness to lead rather than follow.
Leadership reimagined
When asked how the Concertmaster role has evolved for women, Natalie offers a nuanced perspective.
‘I think the role of concertmaster is very complex. Traditionally it was seen as an authoritarian role, much like the traditional role of a conductor. As society has evolved, so has the way leadership is seen in general.’
She points out that the changes aren’t just about gender, they’re about orchestras themselves evolving.
‘Methods of leadership which were absolutely normal in past generations are no longer feasible or acceptable. The way orchestras are led and run today are much different than they were even a few decades ago.’
It’s fascinating to read Bertha’s very own words from 1947:
‘Every conductor has his own individual idea of how he thinks it should be played. As leader, I must try to understand how he wants the orchestra to play.’
It sounds presciently similar to Natalie’s own reflections on the skills of a concertmaster in 2026:
‘I see myself as part of a group... trying to understand what the conductor wants and help facilitate that.’
Playing without boundaries
On 27 and 28 February, audiences will hear Natalie perform the soaring violin solo in Richard Strauss’s Le Bourgeois gentilhomme – ‘my favourite concertmaster solo piece,’ she says.
‘The music is so joyous and flamboyant. You can literally see the character of the tailor in your mind’s eye – dancing and prancing around. It’s a stunning piece of writing by Strauss and a joy to play.’
120 years, and many generations in between, have seen attitudes and perspectives shift. We have Bertha’s talent and determination to thank for setting the wheels of change in motion.
