Conducting Elastic Hearts: Nigel Gaynor on Merging Sia’s Music with Orchestral Power

Queensland Ballet’s upcoming production Elastic Hearts promises a bold collision of worlds — contemporary pop anthems by Sia, arranged for full symphony orchestra, and set to dynamic new choreography by Garry Stewart. The music, recorded by Queensland Symphony Orchestra (QSO), is a key pillar of the production’s energy and emotional punch.

At the centre of this ambitious musical undertaking is Nigel Gaynor, Queensland Ballet’s Music Director and Principal Conductor, who recently stepped into the studio to bring the score to life. We spoke with Nigel about the creative process, the challenges, and the thrill of blending chart-topping hits with orchestral colour.

A Unique Collaboration

Each year, Queensland Ballet works with Queensland Symphony Orchestra on a range of productions. This year’s calendar has already featured Romeo and Juliet, with The Nutcracker still to come. But Elastic Hearts is something different.

“This project is particularly interesting because we’re recording the music for the ballet rather than performing it live alongside the dancers,” Nigel explains. “It’s an opportunity to explore Sia’s music in a completely new way — through the lens of a full symphony orchestra.”

The bridge between these two musical worlds — pop and orchestral — comes from arranger and composer Elliott Wheeler. “Elliott has huge experience in the film industry, working with incredible people like Baz Luhrmann. Bringing him into the mix was incredibly exciting,” Nigel says. “He’s given this score so much imagination and texture.”

Breathing New Life into Familiar Songs

When Sia creates her music, it’s often built from a lean set of elements — guitar, keyboard, piano, drums, and electronic soundscapes. Translating that into an orchestral score opens an entirely new palette of tonal possibilities.

“With a full symphony orchestra, you can shine a completely different light on Sia’s music,” Nigel says. “It’s inspiring for dancers, too. Many of them love her songs, and now they’ll hear them in an entirely different soundscape.”

Wheeler’s arrangements, Nigel notes, give each track a new emotional depth without losing the energy and hooks that make Sia’s work so distinctive.

Challenges and Triumphs in the Studio

Not every moment in the recording process was smooth sailing. One section for the trumpet section proved especially demanding. “It was quite high, and we had a few goes at it,” Nigel admits with a smile. “But the trumpets got there. And considering we had just two days to nail the entire score, the musicians did a terrific job.”

The recording itself was unlike most ballet projects Nigel has conducted. Instead of capturing the full orchestra at once, the team recorded in layers — lower strings and brass together, then other instrumental groups, all synced to a click track to ensure precision. “It’s like assembling a jigsaw puzzle,” Nigel explains. “Every player has headphones or earphones, and the tempo is locked in so we can layer each section perfectly.”

Matching Music to Movement

Even without the dancers present, Nigel was mindful of how the score would interact with choreography. “My job is to make sure the music is accurate to the click track, but also to explore possibilities within that,” he says. Sometimes that means experimenting with the articulation of a single line — playing it sharp and bright, or smooth and flowing — so that the final choice best supports the choreographic intent.

Serving the Vision

For Nigel, one of the most exciting parts of the project is its unpredictability. “When a choreographer starts in the studio, they have an idea of what they’re going to create, but it always evolves depending on the dancers. It’s the same with music. The composer writes the notes, but once you record with real musicians, certain passages just come alive in unexpected ways.”

This flexibility allows Wheeler to refine the final mix, giving prominence to different instruments while ensuring Sia’s vocals remain at the heart of the score.