OPERA IN CONCERT - Auckland Philharmonia Orchestra

The Trusts Community Foundation

OPERA IN CONCERT

O T E L L OVERDI’S

7.30pm, Friday 29 July 2016 Auckland Town Hall

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now available world-wide.

A little while ago, Special Group designed thedistinctive Karma Cola packaging. Today it’s sold all over the world and bottled in the UK to keep

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CONTENTS

Welcome 2

Auckland Philharmonia Orchestra 2016 4

About Auckland Philharmonia Orchestra 11

Auckland Philharmonia Orchestra Funding and Support 13

Otello 14

Acknowledgements 29

KARMA COLA The award-winning packaging design

now available world-wide.

A little while ago, Special Group designed thedistinctive Karma Cola packaging. Today it’s sold all over the world and bottled in the UK to keep

up with European demand. Is that great success all down to the branding? Nope. Did it make a difference? Just ask All Good.

Simon Coley, [email protected]

specialgroup.com Verdi’s Otello 2016 1

WELCOME

What kind of story could entice Verdi to emerge from a comfortable retirement

and take on another opera? Shakespeare’s tale had all the ingredients for a compelling opera – jealousy, greed, torment, and the most depraved villain in the Bard’s roster; it was all too irresistible for Verdi. The result is unquestionably the highpoint of Italian musical drama in the late 19th century – not only because of the astounding brilliance of the opera itself but also in the challenges of marshalling the instrumental and vocal forces to carry the quicksilver score.

And we’ve assembled just the cast for the duty. I’m pleased to welcome APO’s Music Director Giordano Bellincampi to conduct this concert. Giordano is a seasoned conductor of Italian opera, and Otello marks his operatic debut with the APO. The role of Otello himself is one of the most vocally and emotionally demanding roles in all opera, and in Kiwi tenor Simon O’Neill we have secured an outstanding Otello, who brings his experience of performing the role on some of the great

operatic stages including the Barbican with the London Symphony Orchestra, the Houston Grand Opera and Sydney Opera House with Opera Australia. I would also like to welcome Italian soprano Maria Luigia Borsi to sing Verdi’s tragic heroine Desdemona, and American baritone Scott Hendricks as the dastardly and thrilling Iago. Exceptionally talented Kiwi singers Sarah Castle, Andrew Glover and James Ioelu, and Australians James Egglestone and Pelham Andrews round out a superb cast, ably supported by the brilliant Freemason’s New Zealand Opera Chorus, and of course, the APO.

Otello is one of Italian opera’s greatest tragedies, unrivalled in its compelling drama. We are able to bring you this wonderful opera thanks to the continued support of the Trusts Community Foundation, our funder for tonight’s Opera in Concert. I would also like to acknowledge and thank our colleagues at New Zealand Opera for supporting tonight’s concert, and thanks also to the small but growing group of donors who support this specific project so we can bring you a first-class experience.

400 years since the death of Shakespeare, the great storyteller remains as influential as ever. We are proud to present Otello to you, our audience, and hope that you enjoy tonight’s performance.

Barbara Glaser Chief Executive Auckland Philharmonia Orchestra

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The Trusts Community Foundation (TTCF) is delighted to be the naming

rights funder of Opera in Concert, the cornerstone of the Auckland Philharmonia Orchestra’s annual programme.

TTCF’s partnership with the APO was established in 1998, a relationship that continues to grow and develop. We increasingly value the role that the APO plays. It delivers not only world-class main stage concerts but also APO Connecting, an extensive community and education programme for toddlers to aspiring professional musicians, a programme also supported by TTCF.

TTCF is proud to have West Auckland’s Portage and Waitakere Trusts as foundation members and it is the Portage trustees’ consistent recommendations that ensure TTCF’s ongoing support of APO’s Opera in Concert is an easy decision.

The APO plays a vital role in the trustees’ arts strategy, including for the first time in January this year, presenting the APO Orchestral Summer School Finale concert – a combined orchestra of 50 young musicians and APO players – at the Avondale College Performing Arts Centre. In addition, the APO delivers a programme for the 12 West Auckland secondary schools to attend the annual Connecting with Music concert; West Side Beats, an Open Orchestra event at The Trusts Arena; and APO 4 Kids Christmas, an annual concert for young children in West Auckland.

TTCF’s support also helps to ensure that the APO can attract and retain musicians of the highest calibre, which is why we are also proud of our commitment to a violist’s chair held by Greg McGarity and a trombonist’s chair held by Mark Close.

We very much hope that you will enjoy tonight’s operatic masterpiece, Verdi’s Otello, performed by wonderful guest artists and Auckland’s own world-class orchestra conducted by Music Director, Maestro Giordano Bellincampi.

Ross Clow Chairman The Trusts Community Foundation

Verdi’s Otello 2016 3

AUCKLAND PHILHARMONIA ORCHESTRA 2016

Music Director Giordano Bellincampi

Chair Donor

Assistant Concertmaster Miranda Adams

Chair Donor The David & Genevieve Becroft Foundation

Concertmaster Andrew Beer

Chair Donor Dame Jenny Gibbs

Guest Associate Concertmaster Liuyi Retallick

Elzbieta Grabczewska

Chair Donor Gregory & Vlasta Shanahan

Satomi SuzukiAlexander Shapkin

Chair Donor Denver & Prue Olde

Artur Grabczewski #

Chair Donor Warren & Sandra Cant

Ainsley Murray

Chair Donor David & Dian Ross

Mark Bennett

Chair Donor Rua & Clarrie Stevens Charitable Trust

First Violins

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Caroline von Bismarck

Chair Donor Barry & Trish Clapham

Charmian Keay Jiwon Lee

Lucy Qi Zhang

Chair Donor Martin Sowter & Alison Pereira

Yuri Cho

Supported by Audrey Hay

First Violins

Dianna Cochrane ß

Chair Donor Robert & Lynne Morton

Xin (James) Jin +

Chair Donor David Lovell

Rae Crossley-Croft =

Chair Donor Anonymous

Milena Parobczy

Chair Donor Murray & Jill Lander

William Hanfling #

Chair Donor

Ewa Sadag

Chair Donor Brian & Pam Stevenson

Robert Ashworth ß

Chair Donor Peter Wilson & Gerda McGechan

Rachel Moody

Chair Donor Alex Baker

Katherine Walshe

Chair Donor Mark & Amber Gatward

David Samuel +

Chair Donor Anonymous

Christine Bowie #

Chair Donor Ralph & Penny Roberts

Sarah Hart

Chair Donor Mike & Debbie Whale

Jocelyn Healy

Chair Donor Dame Rosanne Meo

Second Violins

Violas


Eliah Sakakushev- von Bismarck ß

Chair Donor Peter Pritchard & Belinda Vernon

David Garner +

Chair Donor Haydn Staples & Lynley Stewart

Cellos

Matthias Erdrich

Chair Donor Sylvia Rosevear

Katherine Hebley

Chair Donor Penelope Weber

Gordon Hill ß

Chair Donor Dr Tom & Ann Morris

Evgueny Lanchtchikov #

Chair Donor Stephen & Laura Dee

You Lee

Chair Donor Barbara Glaser & Richard Panting

Annabella Zilber +

Chair Donor Paul & Alison Dyson

Alanna Jones Michael Steer

Chair Donor Julian Smith & Craig McAlpine

Basses

Gregory McGarity

Chair Donor

Susan Wedde

Chair Donor

Ping Tong Chan

Alexander McFarlane ~

Violas

Liliya Arefyeva

Chair Donor Richard Frechtling & Carole McIntosh

Jacky Siu ~

James sang-oh Yoo

Chair Donor Stephen Lloyd

Anne Draffin #

Chair Donor

Helen Bevin

Chair Donor Leigh & Jennie Auton

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FlutesEmma Gerstein ß

Chair Donor Charline Hamilton Baker

Jennifer Seddon-Mori *

Chair Donor Richard & Lois Hadfield

Kathryn Moorhead +

Chair Donor Karen Kennedy

Piccolo

Bede Hanley ß

Chair Donor Richard & Elizabeth Ebbett

Martin Lee *

Camille Wells +

Chair Donor Janet Smith

Oboes

Cor Anglais

James Fry +Eb Clarinet*

Chair Donor Michael & Dame Rosie Horton

Signe Sõmer ß

Chair Donor Tony & Deirdre Anselmi Family Trust

Ingrid Hagan ß

Chair Donor Gary & Dot Paykel

Bridget Miles +Bass Clarinet*

Chair Donor Stephen & Gail Hofmann

Clarinets

BassoonsYang Rachel Guan Ebbett +

Chair DonorDame Adrienne Stewart


Douglas Cross ß

Chair Donor Adrian Burr

Timothy Sutton *

Chair Donor John Griffiths

Mark Close #

Chair Donor

Trombones

Bass Trombone

Huw Dann ß

Chair Donor Neil & Jane Haines

Jonah Levy + Norman McFarlane +

Chair Donor Robert & Louise Clark

Trumpets

Carl Wells #

Chair Donor Kevin Martin

Nicola Baker ß

Chair Donor

Emma Eden *

Chair Donor Charles & Tana Fishman

David Kay

Chair Donor Anna Nathan

Horns

Simon Williams #

Chair Donor

Ruth Brinkman *Contrabassoon

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Tak Chun Lai *Tuba

ß Section Principal + Associate Principal= Section Leader Emeritus # Sub Principal* Principal ~ Manchester Fellows

Jennifer Raven #

Chair Donor Penelope Peebles & James Sutherland

Shane CurreyEric Renick ß

Chair Donor Geraint A. Martin & Sam Cliffe

Percussion

Karlo Margetić

Rebecca Harris *

Chair Donor Signs Around Town Ltd

Harp

Timpani

Guest Musicians

Banda

Composer-in-Residence

Répétiteur and Vocal Coach David KellyAssisted by Rosemary Barnes

Violin Naomi Lee

Cello Paul van Houtte

Bassoon Preman Tilson

Trumpet Stephen Bemelman

Timpani Ben Fullbrook

Percussion Rebecca Celebuski Jeremy Fitzsimons

Mandolin Dave Kahn

Organ David Kelly

Mark BremnerMatthew VerrillNick Hall

Namleen Kaur MallahLaura PendergrastNicholas Allan

Vacancy

Chair Donor Andrew and Jenny Smith


For more information visit the APO website www.apo.co.nz/gifts-in-wills or call the APO Development team on 09 623 5628

Charitable trust No. CC23607

Ruskin Spear (1911-1990) Rehearsal Private Collection / Courtesy of

Manya Igel Fine Arts, London / Bridgeman Images© Estate of the artist

You can help shape the future of the APO by leaving a gift in your will to the Auckland Philharmonia Foundation.

The Foundation is growing its endowment fund to help secure the orchestra’s future and to support specific needs, such as scholarships for musicians.

Leaving a gift is one of the most potent and enduring ways you can help Auckland’s orchestra.

Every gift, big or small, makes a difference. So once you have made provision for your loved ones, please consider leaving a gift in your will so the APO can thrive in years to come.

Leave your mark in the music

AUCKLAND PHILHARMONIA ORCHESTRA

Auckland Philharmonia Orchestra is New Zealand’s full-time professional

Metropolitan orchestra, serving the country’s largest and most vibrant city with a comprehensive programme of concerts and education and outreach activities.

In more than 50 mainstage performances annually, the APO presents a full season of symphonic work showcasing many of the world’s finest classical musicians. Recent high-profile soloists include violinists Isabelle Faust and Sarah Chang, pianists Kathryn Stott and Jean-Efflam Bavouzet, clarinettist Julian Bliss and trumpeter James Morrison. Leading international artists in 2016 include Vladimir Ashkenazy, violinists Ning Feng and Noah Bendix-Balgley, pianist Cédric Tiberghien and cellists Li-Wei Qin and Julian Steckel. We are also delighted to welcome back conductors Stephen Layton and Christopher Seaman, among others, to complement the presence of new Music Director Giordano Bellincampi.

The APO is also proud to support both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances, as well as working in partnership with Auckland Arts Festival and Michael Hill International Violin Competition.

Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive artists, and in 2016 the APO performs with

New Zealand national treasures the Topp Twins, as well as presenting the Australasian premiere of Final Symphony, a concert of music from the Final Fantasy series of video games.

Through its numerous APO Connecting (education, outreach and community) initiatives the APO offers opportunities to more than 20,000 young people and adults nationwide to participate in music, ranging from hip-hop and rock to contemporary and classical.

100,000 people hear the orchestra live each year, with many thousands more reached through special events, recordings and other media.

For more information visit the APO website www.apo.co.nz/gifts-in-wills or call the APO Development team on 09 623 5628

Charitable trust No. CC23607

Ruskin Spear (1911-1990) Rehearsal Private Collection / Courtesy of

Manya Igel Fine Arts, London / Bridgeman Images© Estate of the artist

You can help shape the future of the APO by leaving a gift in your will to the Auckland Philharmonia Foundation.

The Foundation is growing its endowment fund to help secure the orchestra’s future and to support specific needs, such as scholarships for musicians.

Leaving a gift is one of the most potent and enduring ways you can help Auckland’s orchestra.

Every gift, big or small, makes a difference. So once you have made provision for your loved ones, please consider leaving a gift in your will so the APO can thrive in years to come.

Leave your mark in the music


3671_NZO_Sweeney_A5_advert_PRINT.indd 1 18/07/16 5:02 PM

Auckland Philharmonia Orchestra

FUNDING AND SUPPORT

Auckland Philharmonia Orchestra receives major funding from

The APO gratefully acknowledges the vital support of its Platinum and Gold sponsors and funders

Auckland CouncilCreative New ZealandAuckland LiveAuckland Philharmonia FoundationBayleys Real EstateChapman TrippChisholm Whitney Family

Charitable TrustDawsonsDeloitteFoundation North

Four Winds FoundationFreemasons FoundationHiltonJX LiveMalcolm Pacific ImmigrationPotter Masonic TrustThe New Zealand HeraldNewstalk ZBOgilvy & MatherPub Charity

The Saint Kentigern Trust Board and The Douglas Goodfellow Charitable Trust

Stout TrustThe Trusts Community FoundationTrillian TrustVilla MariaThe Wallace FoundationWilliam & Lois Manchester TrustGraeme & Victoria RevellAudrey Hay


Auckland Town Hall 301-303 Queen Street Auckland 1010

PO Box 7083, Wellesley St Auckland 1141

Phone (09) 638 6266 Fax (09) 623 5629 Ticket Office (09) 623 1052 Email [email protected]

Website apo.co.nz Facebook facebook.com/aporchestra Twitter @aporchestra Instagram @aporchestra

Visiting international artists

Stay at Enjoy

The flowers presented on stage are generously donated by Scarecrow – Auckland city’s deli, café and florist.

Otello is being recorded by and will be broadcast on

Please consider others and mind that cough. A hand or handkerchief placed over the mouth greatly reduces the volume. Please turn off all watch alarms and mobile devices before entering the auditorium. It is strictly prohibited to take photographs, visual or audio recordings of any performance.

Programme book

Programme notes by Alastair McKean © 2016 Season photography by Adrian Malloch

Layout and print management Creative design

Paper Printed on Tauro Offset 100gsm; cover 300gsm


OTELLOGiuseppe Verdi (1813-1901)

Libretto by Arrigo Boito (1842-1918), after the play by William Shakespeare (1564-1616)

Conductor Giordano Bellincampi

Otello Simon O’Neill Desdemona Maria Luigia Borsi Iago Scott Hendricks Cassio James Egglestone Emilia Sarah Castle Roderigo Andrew Glover Montano James Ioelu Lodovico Pelham Andrews

The Freemasons New Zealand Opera Chorus Director John Rosser

GIORDANO BELLINCAMPICONDUCTOR

In 2016 Giordano Bellincampi took up the position of Auckland Philharmonia

Orchestra Music Director, cementing the strong relationship he has established with this orchestra since his debut in 2012. He is also General Music Director of the Duisburg Philharmonic and Chief Conductor of the Kristiansand Symphony Orchestra.

Born in Italy and moving to Copenhagen at a young age, he began his career as a trombonist with the Royal Danish Orchestra before making his professional conducting debut in 1994. Previously, he was the Principal Conductor of I Pomeriggi Musicali, Milan, General Music Director of the Danish National Opera from 2005-2013, Music Director of the Copenhagen Philharmonic Orchestra from 2000-2006, and between 1997-2000 he was also Chief Conductor of the Athelas Sinfonietta Copenhagen, the leading contemporary ensemble in Denmark.

With an enormous repertoire embracing classical, romantic and contemporary music, he is particularly celebrated for his prowess in the Central European, Italian and Scandinavian symphonic traditions, and for his interpretations of significant choral and vocal works.

He has also excelled in the field of opera since making his debut with the Royal Opera in Copenhagen with La Bohème in 2000. He has conducted many of the great Italian works at the Royal Opera with particular focus on Puccini and Verdi. Whilst Music Director of the Danish National Opera, Bellincampi conducted works such as Der Rosenkavalier, The Flying Dutchman, Tristan und Isolde, Don Giovanni and The Magic Flute.

In August 2015 Giordano Bellincampi conducted a strongly-acclaimed performance leading the Duisburg Philharmonic at Amsterdam’s legendary Concertgebouw Hall and highlights of his 15/16 calendar include performances with the Tasmanian Symphony as well as further engagements with the Duisburg Philharmonic throughout the season, featuring major works including Bruckner’s Fourth and Mahler’s Third symphonies.

Maestro Bellincampi’s extensive discography includes recordings for the Da Capo and Marco Polo labels of Danish composers from the classical era through to the present day, as well as Italian opera arias with Liping Zhang and the Prague Philharmonia, Nielsen’s Third Symphony for EMI Classics, and works by Svendsen and Walton.

As Associate Professor at the Royal Danish Academy Giordano Bellincampi is dedicated to educating coming generations of conductors, and he also regularly gives masterclasses and serves as a jury member for international conducting competitions.


SIMON O’NEILLTENOR

OTELLO

New Zealand tenor Simon O’Neill is one of the finest helden-tenors on the

international stage. He is a principal artist with the Metropolitan Opera, the Royal Opera House, Covent Garden, Teatro alla Scala and the Bayreuth and Salzburg Festivals, appearing with conductors including James Levine, Riccardo Muti, Valery Gergiev, Antonio Pappano, Daniel Barenboim, Pietari Inkinen, Pierre Boulez, Sir Charles Mackerras, Sir Colin Davis, Daniele Gatti, Edo de Waart, Fabio Luisi, Donald Runnicles, Thomas Hengelbrock and Christian Thielemann.

Performances include Siegmund, Walther von Stolzing, Lohengrin, Florestan and Parsifal (Royal Opera), Parsifal and Lohengrin (Bayreuth Festival), Parsifal (Vienna State Opera, Teatro Real, Madrid, Covent Garden), Siegmund (Metropolitan Opera, New York, Hamburg State Opera,

La Scala, Milan, Berlin State Opera, Vienna State Opera, Munich Festival, Deutsche Oper Berlin, Covent Garden), Das Lied von der Erde (Carnegie Hall with Levine), Missa Solemnis (Carnegie Hall), Cavaradossi (Hamburg, Tokyo Deutsche Oper Berlin), Florestan (Salzburg Festival, Washington in concert and Houston), Otello and Max in Der Freischütz (LSO with Colin Davis), Gurrelieder (BBC Proms), Mao in Nixon in China (San Francisco Opera and Auckland Arts Festival) and Otello (Houston Grand Opera).

Upcoming engagements include Das Lied von der Erde in San Francisco and at Carnegie Hall with Tilson-Thomas conducting the San Francisco Symphony, and with the London Symphony Orchestra under Rattle, Mahler Symphony No.8 in Tokyo, Florestan in Fidelio with Pappano conducting the Accademia di Santa Cecilia, Die Walküre with Barenboim at the Berlin Staatsoper and with the Berlin Philharmonic under Rattle, and Gurrelieder with Runnicles. He returns to Houston for Götterdämmerung, Turandot and Tannhäuser with Patrick Summers.

Simon O’Neill’s performance is supported by Dame Jenny Gibbs DNZM

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MARIA LUIGIA BORSISOPRANO

DESDEMONA

Hailed by critics worldwide for her vocal dynamism and interpretive prowess,

Italian lyric soprano Maria Luigia Borsi has forged a career that has taken her throughout Europe, Asia, and the United States. Ms. Borsi began her career as Liù in Turandot at the Teatro alla Scala. She made her Venetian debut for the historic reopening of the Teatro La Fenice singing as Violetta in La traviata, under Lorin Maazel.

Ms Borsi has performed at the Salzburg Festival, Zurich Opernhaus, Berlin Philharmonie, Deutsche Oper Berlin, Liceu of Barcelona, Royal Danish Opera, New National Theatre Tokyo, Arena di Verona, Cincinnati Opera, Les Chorégies d’Orange, Novaya Opera, and with the London Philharmonic Orchestra, Vienna Philharmonic, Israel Philharmonic Orchestra, London Symphony Orchestra, Scottish Chamber Orchestra, Rotterdam Philharmonic, Tokyo Philharmonic, Münchner Philharmoniker and the Seoul Philharmonic.

She has collaborated in multiple occasions with Riccardo Muti, Zubin Mehta, Lorin Maazel, Myung-Whun Chung, Yannick Nézet-Séguin, Michel Plasson, Yves Abel, Maurizio Benini and Robert Spano.

Highlights of her recent engagements include the opening concert of EXPO in Milan with the La Scala Orchestra televised all over the world, Madama Butterfly in Cincinnati, Otello in Oviedo, La Rondine in Lucca, Modena, Pisa, Ravenna and Verdi’s Messa da Requiem in Florence.

Maria Luigia Borsi’s discography includes a live recording of Mozart's Don Giovanni

with Zubin Mehta (Helicon), a live DVD of Beethoven's Symphony No.9 with Lorin Maazel (Kultur), Puccini's Turandot (Fenice), Bizet's Carmen with Franco Zeffirelli, Peter von Winter's Maometto II (Marco Polo) and her first solo album ‘Italian Soprano Arias’ with the London Symphony Orchestra (Naxos).

Born in Sora, Italy, she studied with Antonietta Stella, Lucia Stanescu, Claudio Desderi, and Renata Scotto.

Maria Luigia Borsi’s performance is supported by Elizabeth and Richard Ebbett


SCOTT HENDRICKSBARITONE

IAGO

Texan Scott Hendricks has emerged as one of today's most compelling and

versatile baritones. From Monteverdi to Schreker, Mozart to Debussy and Puccini to modern-day composers, Mr Hendricks has always maintained a diverse operatic diary and is now establishing himself as an important artist in the operas of Verdi, Puccini and Wagner.

Engagements in the 2014-15 season included his role debut as Renato Un ballo in maschera at La Monnaie, as well as performances as Jack Rance in La Fanciulla del West (Opernhaus Zürich), Conte di Luna in Il trovatore (Mikhailovsky Theatre, St Petersburg), Sharpless in Madama Butterfly (Houston Grand Opera), and the title role of Macbeth (Netherlands Opera).

Other recent engagements include Mr Hendricks’ Metropolitan Opera debut as Sharpless in Madama Butterfly; his Royal Opera House debut as Scarpia in Tosca; Amonasro in Aida (Houston Grand Opera); Germont in La traviata (La Monnaie, in a new production by Andrea Breth); role debuts as Michele in Il tabarro and Gianni Schicchi in a new production of Puccini’s Il trittico (Oper Köln); Forester in The Cunning Little Vixen (Opéra National du Rhin); the title role of Rigoletto and Enrico in Lucia di Lammermoor (Houston Grand Opera); Scarpia in Tosca (Opéra National de Paris, Washington National Opera and Bayerische Staatsoper, Munich); Sharpless in Madama Butterfly (Washington National Opera with Plàcido Domingo); Jochanaan in Salome (La Monnaie, Brussels); Amonasro in Aida and Iago in Otello

(Canadian Opera Company); critically acclaimed performances of Roderick in The Fall of the House of Usher and Carlo Gérard in Andrea Chénier (both Bregenzer Festspiele); and an internationally critically acclaimed portrayal of the title role in the world première of Giorgio Battistelli's Richard III with De Vlaamse Opera, under the direction of Robert Carsen.

Engagements this season include the title role of Eugene Onegin (Houston Grand Opera), Amonasro in Aida (Oper Köln), and role debuts as Hamlet III in Die Hamletmaschine (Zurich Opera) and Victor Frankenstein in the world premiere of Frankenstein at La Monnaie, Brussels.

Scott Hendricks’ performance is supported by and in memory of Lesley French, who loved music and opera

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JAMES EGGLESTONETENOR

CASSIO

Dual Helpmann Award-winning James Egglestone is one of Australia’s finest

young tenors. He is a graduate of both the Victorian College of the Arts and the Melba Conservatorium of Music and a recipient of the 2004 Johnston Bequest and the 2004 Belcanto Scholarship – these awards enabled James to study in Italy and The Netherlands respectively.

Early professional engagements included Elvino in La Sonnambula and Don Carissimo in La Dirindina (Belcanto Festival, The Netherlands); for Melbourne Opera, the roles of Tamino in The Magic Flute, Rodolfo in La bohème and Nadir in The Pearl Fishers; Pang in Turandot for the Puccini Festival of Australia and Remendado in Carmen for West Australian Opera. For the Castlemaine Festival in 2005, James created the role in the one-man opera Tell Tale Heart.

In 2007, he sang leading roles in The Love of the Nightingale for West Australian Opera, Opera Queensland and Victorian Opera (for which he won the Helpmann Award as Best Male Singer in a Supporting Role); he won the same award in 2008 for his performance as Laurie in Little Women for State Opera of South Australia.

In recent seasons, he has sung Nadir, Ismaele in Nabucco, Pluto in Orpheus in the Underworld and Count Almaviva in The Barber of Seville for West Australian Opera; Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni and Peter Quint in The Turn of the Screw for Victorian Opera; Ishmael in Moby-Dick for State Opera of South Australia. He has also appeared in concert with the Adelaide, Melbourne, Queensland, West Australian and Canberra Symphony Orchestras, Auckland Philharmonia Orchestra, Sydney Philharmonia Choirs and the Twilite Orchestra, Jakarta.

In 2012, James Egglestone sang Pinkerton in Madama Butterfly and Lysander in A Midsummer Night’s Dream for Opera Australia, Rodolfo for State Opera of South Australia and the tenor solos in Beethoven’s Symphony No.9 for the Sydney Symphony under Vladimir Ashkenazy.

James Egglestone’s performance is supported by The Wallace Foundation


SARAH CASTLEMEZZO-SOPRANO

EMILIA

Sarah Castle was born in New Zealand and studied at the Royal Northern

College of Music. She made her debut for the Royal Opera House, Covent Garden as Tisbe in La cenerentola and has subsequently appeared there for Ariadne auf Naxos, Salome, Adriana Lecouvreur, Die Walküre, Das Rheingold and Götterdämmerung. Recent highlights include the title role in Tan Dun's Marco Polo, Elektra in Manfred Trojahn's Orest, and Magdalene in Die Meistersinger von Nürnberg, all for the Netherlands Opera in Amsterdam. Her US debut was for San Francisco Opera as Oberto in Alcina, then she sang in Die Fledermaus for the Opera Company of Philadelphia, The Marriage of Figaro for Seattle Opera, New Zealand Opera and San Diego Opera.

She was Portia in André Tchaikowsky's Merchant of Venice for the Grand Theatre

Warsaw last October, Nancy T’ang in Nixon in China with San Diego Opera, and the title role of La cenerentola for New Zealand Opera in May 2015. Future engagements include Wagner’s Ring Cycle with Opera North.

Sarah Castle has been guest of the Bayreuther Festspiele, Maggio Musicale with Zubin Mehta, Bayerische Staatsoper, Opera North, Opera Australia, Teatro Real de Madrid, Gran Teatro de Cordoba, Prague National Theatre, Spoleto Festival USA, La Monnaie in Bruxelles, Nationale Reisopera, Klagenfurt Opera, Lausanne, Hallenstadion Zurich, Opera Holland Park London, Concertgebouw in Amsterdam, Edinburgh International Festival, Opera Queensland, Welsh National Opera and Israeli Opera.

Notable concerts include Mendelssohn’s Paulus with La Chapelle Royale under the direction of Philippe Herreweghe, Elijah with the Singapore Symphony Orchestra, and for the LPO conducted by Kurt Masur, Mahler's Symphony No.3 with Gustavo Dudamel in Caracas, Spaces of Blank by Michel van der Aa in Amsterdam, and Mark Anthony Turnage's Twice Through the Heart with Psappha. Her BBC Proms debut at the Royal Albert Hall was as Siegrune in Die Walküre with the BBC Scottish Symphony Orchestra.

Sarah Castle’s performance is supported by the Ron and Margaret Saunders Trust

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ANDREW GLOVERTENOR

RODERIGO

Based in Brussels, Andrew Glover was born in New Zealand and studied

drama, dance and singing at the Unitec School of Performing and Screen Arts. He made his debut with New Zealand Opera in Il Barbiere di Siviglia. As a recipient of the Dame Malvina Major Emerging Artist Award, Mr Glover studied at the Australian Opera Studio, graduating with Dux and Honours. He has appeared in operas for English Touring Opera, Opera Holland Park, Opera North and Garsington Opera. He was recently called to step in at the last minute at the Royal Opera House, Covent Garden, making his debut as Beppe in Pagliacci.

His repertoire includes Ferrando in Cosi fan tutte; Grimoaldo in Rodelinda; Fernando in Il furioso; Ramiro in La cenerentola; Giovanni D’Aire in L’Assedio di Calais; Monsieur Triquet in Eugene Onegin; Remendado in Carmen; Bardolfo in Falstaff; Ein junger Diener in Elektra; The Cock and The Fox in Renard; Bastien in Bastien and Bastienne; Monostatos in Die Zauberflöte; Ismaele and Abdallo in Nabucco; Tanzmeister/Scaramuccio in Ariadne auf Naxos; Frantz/ Cochenille/Andres/Pitichinaccio in Les Contes d’Hoffmann.

Andrew Glover’s performance is supported by Eric Johnston and Alison Buchanan


JAMES IOELUBASS-BARITONE

MONTANO

New Zealand born bass-baritone James Ioelu returns from London,

having taken up an apprenticeship with the National Opera Studio in the 2015-16 season. Highlights from the season include his performance in the Mozart/Da Ponte opera scenes directed by Giles Havergal and performed with the Opera North Orchestra, a public masterclass with distinguished Italian conductor Nicola Luisotti at the Royal Opera House Covent Garden, a performance of German song curated by the renowned accompanist, Iain Burnside, an evening of English song with Susan Bullock, and in particular an evening recital with Dame Kiri Te Kanawa where the critics described his voice with having “a wonderful Tito Gobbi resonance”.

In 2015 he attended San Francisco Opera’s Merola Opera Program singing the title role in Don Pasquale directed by Nicholas Muni and conducted by Warren Jones with the San Francisco Opera Orchestra; the critics hailed Mr Ioelu as “resonant and rhythmically secure” (Opera News, November 2015) and he was described by Janos Gereben of San Francisco Classical Voice as “a big-voiced bass-baritone from New Zealand…[who]…showed a well-projected voice, with good diction” and lauded his “funny” and “convincing vocal and stage performance”. Other notable roles include Raimondo in Lucia di Lammermoor, Rodolfo in La Sonnambula, Publio in La Clemenza di Tito and Cesare in Giulio Cesare, Mother in Seven Deadly Sins, Trinity Moses in Aufstieg und Fall der Stadt Mahagonny, Mephistopheles in Faust and Louis XVI in The Ghosts of Versailles.

His competition successes include winning the New Zealand Aria Competition, the New Zealand Young Performer of the Year award as well as placing second in both the Joan Sutherland and Richard Bonynge Bel Canto Competition and the Sydney Eisteddfod Aria Competition. Since moving to London, Mr Ioelu has had the support and mentorship of Dame Kiri Te Kanawa who has taken a personal interest in him, and the Kiri Te Kanawa Foundation, for which he is very grateful.

James Ioelu’s performance is supported by Helen Gaeta

22 apo.co.nz

PELHAM ANDREWS BASS

LODOVICO

Bass Pelham Andrews trained in Australia, the UK and Germany, and

is a graduate of the Cardiff International Academy of Voice and Adelaide University. A former Young Artist of the State Opera of South Australia, Pelham has performed extensively with that company in the roles of Padre Guardiano in La forza del Destino, Colline in La Bohème, Nourabad in Les Pêcheurs de Perles, Lodovico in Otello, Zuniga in Carmen, Friedrich Bhaer in the Australian premiere of Mark Adamo’s Little Women, Count Ribbing in Un Ballo in Maschera, Jake Wallace in La Fanciulla del West, Count Ceprano in Rigoletto, the Stationmaster in Blake's The Station, the Mandarin in Turandot, and the Imperial Commissioner in Madama Butterfly.

Mr Andrews has sung Méphistophélès in La Damnation de Faust and the King of Bambaras in Angelique for Victorian Opera, and for Opera Australia he has appeared as Sparafucile and Monterone in Rigoletto, Lodovico in Otello, Zoroastro in Orlando, Baron Douphol in La Traviata, Speaker in The Magic Flute and Second Mate in Billy Budd. He has also performed throughout Australia, Malaysia and Singapore with touring company Co-Opera, and won several awards including the McDonalds Operatic Aria.

As a concert soloist, Pelham Andrews has performed with the Adelaide Symphony Orchestra, Queensland Symphony Orchestra, Orchestra Victoria, Sydney Philharmonia, Australian Intervarsity Choral Festival, Melbourne Bach Choir, Auckland Choral Society, Napier Civic

Choir and Manukau Symphony, as well as many smaller ensembles. His repertoire includes the Requiems of Mozart, Fauré and Verdi, Haydn’s Creation, Handel’s Messiah, Beethoven Symphony No.9, Mozart and Beethoven Masses, and Cantatas by Bach. He is also an accomplished and passionate interpreter of song repertoire.

Last year Mr Andrews returned to Opera Australia where his role and cover responsibilities included Timur in Turandot, Baron Douphol in La Traviata, Flemish Deputy in Don Carlos, King in Aida, Figaro in The Marriage of Figaro, and Masetto in Don Giovanni. In 2016 his engagements include singing the role of Farfarello and covering The King of Clubs in The Love for Three Oranges for Opera Australia and the roles of Sciarrone in Tosca and Lester Lamb in Cloudstreet for State Opera of South Australia.

Pelham Andrews’ performance is supported by Dame Jenny Gibbs DNZM


THE FREEMASONS NZ OPERA CHORUSDirector, John Rosser

The Freemasons NZ Opera Chorus is auditioned annually and has around 180

members in three separate choruses around the country. Its members are trained and accomplished singers, requiring both the technique to sing across an orchestra and the ability to perform on an operatic stage.

The Chorus features not only in NZ Opera’s mainstage productions but also in a wide variety of concerts and special events. It has received considerable acclaim for its performances, with one critic describing it as “absolutely superb, both dramatically and musically” and others hailing its “remarkable singing” and “sharp, incisive work”.

John Rosser is NZ Opera’s Associate Conductor and Chorus Director (Auckland), as well as founder and Musical Director of Viva Voce. In demand as guest conductor, presenter and adjudicator, he chairs the New Zealand Choral Federation, is Artistic Director of Sing Aotearoa, and devised and led the NZCF National Anthem project for the 2011 Rugby World Cup.

www.nzopera.com

CHORUSFREEMASONS NEW ZEALAND OPERA CHORUS

SopranoLeila AlexanderBernice AustinLilia CarpinelliMilla DickensChelsea DolmanJessica DuirsAmy JansenFiona LiChristina OrjisEmma RoxburghEmma SlomanBlaire White

MezzoKayla CollingwoodHelene HolmanHelen KimTamsyn MatchettGlenn MeadeMary Newman

PoundCatherine ReaburnJessica WellsVanessa Withy

TenorTerry BarryLachlan CraigTaunoa FilimoehalaLewis FrancisDavid HwangBo JiangPatrick KellyGraham MandenoO’neal MendozaAlan PattersonKalauni PouvaluDmitry RusakovDavid Wallace

BaritoneDragan AtanasovCallum BlackmoreIvan BlytheTom CoupClinton FungAlexander GarveyRhys HingstonTerry KayesAlex Milligan

VIVA VOCE

SopranoSusan EwartHelen JacksonLuca MolnarEmily SuttonHilary van Lent

Mezzo Sue FletcherRowena Janes PostMargaret RobertsonChristine Treseder-

HallettAmanda VernonRoseanne WebbRachel Young

BaritoneGrant HutchinsonHamish NuttallRichard OlneyJohn RosserRichard SorrensonPeter Stewart

24 apo.co.nz

SYNOPSIS

Giuseppe Verdi (1813-1901) Otello

Libretto by Arrigo Boito (1842-1918), after the play by William Shakespeare (1564-1616)

Duration First half: c.70’ Second half: c.75’

The action takes place at the end of the fifteenth century, in Cyprus, then ruled by the Republic of Venice

ACT I

Night. A storm rages. The crowd anxiously watches a ship fight through the waves. It docks safely; the new Governor, Otello, disembarks and proclaims a victory over the Turks. The people rejoice, starting a bonfire.

In the crowd are Otello’s ensign Iago, and Roderigo, who is in love with Otello’s wife Desdemona. Iago tells Roderigo to take heart. Desdemona, he says, will soon tire of her husband – whom Iago secretly hates, for Otello promoted Cassio over him. As wine is brought forth, Iago toasts Otello and Desdemona. Cassio enthusiastically praises Desdemona, and Iago whispers to Roderigo to beware of this handsome young upstart. In a menacingly jolly drinking song, they ply Cassio with wine, and by the time Montano comes to call Cassio to watch duty, Cassio is entirely unfit for it. Roderigo provokes Cassio and they fight. Montano separates them. Cassio turns on Montano, wounding him.

The uproar brings Otello out of the castle. He stops the brawl, asks ‘honest Iago’ what happened, and receives a vague answer. But when Desdemona enters, roused from her sleep, Otello angrily strips Cassio of his captaincy. It is Iago’s first triumph. Otello

orders everyone home. As the clouds clear and the moon and stars come out, Otello and Desdemona sing an ecstatic love duet. Otello fears he may never be so happy again; Desdemona prays that their love will remain unchanged for ever. “Amen”, sighs Otello, and pleads for a kiss. They gaze at the stars, and walk back into the castle.

ACT II

In the castle, Iago counsels Cassio; the best way to recover Otello’s favour, he says, is to ask Desdemona to intercede for him. He tells Cassio to wait for Desdemona at some nearby trees, where she habitually walks at this time of day.

Alone, Iago sings his blasphemous Creed: “I believe in a cruel God, who created me in his image …”. And then he sees Desdemona and Cassio meet and talk. Otello enters just as they part. Iago innocently asks, did Cassio know Desdemona before she and Otello met? Otello guardedly asks what he is talking about. “Beware of jealousy, my lord”, says Iago. Desdemona is now seen, surrounded by Cypriots singing a madrigal in her praises. She enters unhurriedly with her lady-in-waiting Emilia, who is Iago’s wife. Moved by Cassio’s remorse, she asks her husband to pardon him – which instantly arouses Otello’s suspicions. He angrily tells his bewildered wife to go. As she protests (“Look in my face and see how love is expressed”) Iago steals Desdemona’s handkerchief from Emilia.

Desdemona and Emilia leave. Otello can’t quite believe that Desdemona is unfaithful, and threatens Iago he will kill him if the accusations are false. Iago now tells Otello that he heard Cassio talk in his sleep: “Sweet Desdemona, let us hide our love, let us be wary”. Not only that, but he’s


certain he remembers seeing Cassio with a handkerchief which was Otello’s first gift to his wife. Convinced, enraged, Otello swears vengeance.

INTERVAL

ACT III

The great hall of the castle. Otello is waiting for the Venetian ambassadors to arrive when Desdemona, still quite unaware why her husband is behaving so oddly, asks again for his pardon of Cassio. Otello changes the subject and asks for the handkerchief. She doesn’t have it, and he works himself up into a lather of hysteria, accusing Desdemona of adultery and calling her a “common courtesan”. She flees. Otello sinks into self-pity.

Iago now enters with the news that Cassio is coming. Otello hides and watches. Iago chaffs Cassio about his love affair with a girl called Bianca – and of course Otello thinks Cassio’s jokey banter is about Desdemona. Now Cassio produces a handkerchief which, he says, appeared in his apartment; he assumes some lady sent it as a love-token, and longs to know who. (Iago, in fact.) The trumpeters signal the arrival of the ambassadors’ ship, and Cassio leaves. “How shall I kill her?” Otello asks Iago.

Magnificent fanfares announce the ambassadors, whose chief, Lodovico, warmly greets Otello and Desdemona. Otello’s shaky public mask slips when he reads the Doge’s orders: he has been recalled, and Cassio is to govern in his place. He brutally strikes Desdemona. All are horrified, and time freezes as they sing a great ensemble of sadness and shock. Iago tells Roderigo to kill Cassio, and Otello orders everyone to leave. Lodovico urges

Desdemona to come with him, but she runs to Otello, who curses her and, raving, collapses. “Behold the Lion!” gloats Iago.

ACT IV

That night, Emilia is helping Desdemona prepare for bed. “I am so sad, so sad”: and she sings the Willow Song, about her mother’s maidservant, who was abandoned by her lover. As Emilia leaves, Desdemona compulsively cries “Ah, Emilia, farewell!”. She prays the Ave Maria before going to bed.

To the darkness of the double basses, Otello enters and gazes upon his sleeping wife. He wakes her with a kiss – ironically – and confronts her with her imaginary crimes. Desdemona pleads that Cassio will confirm they were not lovers, but Otello tells her Cassio is dead, and smothers her. Emilia now bursts in, crying that Cassio has killed Roderigo. “Falsely accused” says Desdemona weakly, and dies, to Emilia’s consternation. Otello tells Emilia scornfully that he has killed “Cassio’s strumpet”, but Emilia is appalled that Otello had listened to anything Iago said. She raises the alarm, and Cassio, Lodovico and Iago rush in. Emilia reveals that Iago had stolen the handkerchief from her, which unravels her husband’s machinations. He rushes out, pursued by the others.

The shattered Otello gazes upon Desdemona: “beautiful, pious creature, born ’neath an evil star”. He stabs himself. As he dies, to the music from the end of Act I, he kisses her one last time.

PROGRAMME NOTE

Early in the planning process for Otello, Verdi got stuck at the end of Act III. He suggested that after Otello strikes Desdemona, heralds should announce a

26 apo.co.nz

Turkish attack. Otello immediately leads the men off to battle, while Desdemona prays for his safety. A traditional finale, which thirty years earlier would have been perfectly adequate. Now, though, Verdi wasn’t quite sure. Asked for his thoughts, the librettist wrote a text that followed Verdi’s outline. Then he explained with great tact why it didn’t work. “That attack of the Turks is like a fist breaking a window of a room where two people are dying of asphyxiation”. The overpowering Act III curtain we’ll hear tonight proves the librettist was right.

His name was Arrigo Boito, and he was a poet, journalist and composer. He was 29 years Verdi’s junior, and his younger man’s theatrical perspective was vital to the Otello project. Verdi had all but officially retired from opera composition ten years earlier, after the première of Aïda. Perhaps inevitably, given his extraordinarily long career, some thought him a has-been. (Years earlier, Boito himself had deeply offended Verdi with some infelicitously expressed Angry Young Man sentiments along those lines.) Verdi had been notorious for terrorising his librettists with endless demands. But now he was happy to trust Boito’s instincts on how drama had now changed. Composing Otello, slowly and painstakingly, he reinvented himself.

For the music of Otello is quite different to its predecessors’. It’s sometimes commented that there are no showstopping tunes like everyone knows from Verdi’s earlier operas: there’s no equivalent of ‘La donna è mobile’, or the Grand March from Aïda. That’s not entirely fair. Otello has a wealth of melodies, but they are never allowed to expand into a full-on ‘item’ and hold up the drama for their own sake. Verdi only writes long, self-contained numbers where the drama requires them, such as

Desdemona’s ‘Willow Song’ and Ave Maria, or the Act I drinking chorus.

Even here, though, the drama rules. Desdemona interrupts her own ‘number’ with the heartbreaking farewell to Emilia. As for the drinking chorus, compare it with a similar number from one of Verdi’s earlier operas, the ‘Brindisi’ from La traviata. This is basically an extended expression of the sentiment ‘Let’s have a great time drinking and falling in love’. In Otello, Iago is trying to get Cassio drunk. As the chorus sings “Drink with me!”, Iago and Roderigo mutter to each other “One more and then he’s tight as a drum”. When Cassio does start to feel the effects, he crashes out of the ensemble. In Traviata, the tune is the point of the exercise. In Otello it’s the framework.

Indeed, Otello’s very first entrance encapsulates this new approach. It was Verdi’s idea to show Otello as a great hero, so that his degradation and downfall is the more tragic. Rather than a mighty aria, though, Verdi wrote a mere thirteen bars – but thirteen bars of such power (it is famously taxing for the tenor) that we accept Otello’s stature without question.

And this would be unworkable without orchestral music of equal power. The passage for the double basses when Otello enters Desdemona’s room; the brilliant, terrifying storm scene of the opening, and the starlit night of the love duet; the dark calm at the start of Act IV. The orchestra is no mere accompaniment but is as much a part of the drama as the singers. It is the music, then, that creates the drama, and creates the characters, and creates that psychological fug which suffocates Otello, and which Boito was so concerned not to break.

Copyright © Alastair McKean 2016. All rights reserved.


The quintessential Romantic ballet

CHOREOGRAPHY BY Johan Kobborg and Ethan Stiefel (after Marius Petipa) MUSIC BY Adolphe Adam ACCOMPANIED BY Auckland Philharmonia Orchestra CONDUCTED BY Marc Taddei

ASB Theatre, Aotea Centre

31 August— 3 September

BOOK NOW

rnzb.org.nz

FEATURINGSUPPORTED BY NATIONAL TOURING PARTNER

Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by the following organisations and individuals whose funds support the work of the orchestra: its main stage concert series and its community, outreach and education concerts and other programmes.

PLATINUM

Auckland Council

Auckland Live

Auckland Philharmonia Foundation

Creative New Zealand

Foundation North

Four Winds Foundation

Freemasons Foundation

Pub Charity

Stout Trust


The Wallace Foundation

William & Lois Manchester Trust

Adrian Burr

GOLD

Chisholm Whitney Family Charitable Trust

Potter Masonic Trust

The Saint Kentigern Trust Board and The Douglas Goodfellow Charitable Trust

Trillian Trust

Dame Jenny Gibbs

Audrey Hay

Graeme and Victoria Revell

Lynley Stewart & Haydn Staples

SILVER

Auckland Philharmonia Orchestra Friends

Manukau-Westmere Lodge Charitable Trust

NZCT

SkyCity Auckland Community Trust

The Lion Foundation

Elizabeth & Richard Ebbett

The Lesley French Estate

Margaret & Ron Saunders Charitable Trust

BRONZE

APRA AMCOS New Zealand

Deane Endowment Trust

Hamana Charitable Trust

Ministry of Education

Roger & Joanna Booth

David & Janet Bridge

Peter & Fay Cropper

Ruth Foreman

Helen Gaeta

John & Eleanor Gibb

Anne Hargreaves

Eric Johnston & Alison Buchanan

Peter & Gael Levin

David & Janet Mayes

Coral Mazlin-Hill in memory of the late Willi Hill

John & Pip McKay

Dame Judith Potter


FUNDERS AND DONORS


SUPPORTERS CIRCLE

Jack & Liz Alison

Dianne & Jeremy Aubin

Auckland Youth Orchestra

Anne & Tony Baird

Anita Banbury

Michael & Judith Bassett

Glen & Nancy Bernard

Kevin Bishop

John Boscawen

Jenny Brown

Mary Brown

Claire & Peter Bruell

Ronald D Bruell

Warren & Sandra Cant

Angela Caughey

Pamela Chalmers

Peter & Margaret Chard

Gary & Julie Craig

John & Margaret Cullen

Quentin & Ruth Currall

Wayne Dyer

Paul & Alison Dyson

Robert & Gillian Eady

Kate Fardell

Stephen & Virginia Fisher

Beverly Gentles

Barbara Glaser & Richard Panting

Pamela Gould

Jack Greenfield

Sandra Greenfield

Robert & Alison Gunn

Joan & John Guthrie

Neil & Jane Haines

Warner Haldane

Nigel Harrison

Leonard & Dorothy Harris

Douglas Hawkins & Lisa Bates

Mike Nicolaidi & Michael Houstoun

Robert & Hilary Howard

Andy Jalfon & Skot Barnett

Robert Jenkins

Pamela Kean

Bryan & Annette Kensington

Alan Kinnear

Robert Kinnear

Wai Fong Lee

Doug & Audrey Leybourne

Jocelyn Lowe

Cliff Lyon

John & Sue Maasland

Stephanie & Dennis Markson

Geraint A. Martin & Sam Cliffe

Ken Mason

Joan & David Maxwell

Beverly McConnell

Karen McNeill

Dame Rosanne Meo

Dr Tom & Ann Morris

Alison Morton

Robert & Lynne Morton

Andre & Helene Muller

Barry & Deirdre Neville-White

Michael & Adriana Nicholls

Humphrey & Gaynor Nisbet

Anne Norris

Terry & Beatrice Nuthall

Denver & Prue Olde

Brian & Christine Peak

Penelope Peebles

Jackie & David Pittman

Geoff & Bev Pownall

John & Jessica Pybus

Regal Castings Ltd

Laurie & Claire Reynolds

Roger Reynolds

Penny & Ralph Roberts

Sylvia Rosevear

John & Avril Ryan

Esther Samuel

Ronald Saunders

Heather Simpson

Andrew & Jenny Smith

Janet Smith

Judy & Warwick Smith

Trevor & Ritva Smith

Martin Sowter & Alison Pereira

Gordon & Madeline Stern

Kerry Stevens

Gwynne Urquhart

Belinda Vernon & Peter Pritchard

David & Gail Williams

Julian & Anne Williams

J W Wilson

Peter Wilson & Gerda McGechan

55 Anonymous Donors

The APO and the Sistema Aotearoa Steering Group gratefully acknowledge funding from Creative New Zealand to run Sistema Aotearoa.

Listed are all donors who have given since 1 January 2015. Donations by individuals of $5 or more attract a tax rebate of 33.33%.

For information about opportunities to support the orchestra please contact Laura Dee, Director of Fundraising on (09) 638 6266 ext 233 or [email protected] or Caitlyn Westbrooke on (09) 638 6266 ext 234 or [email protected]

30 apo.co.nz


CHAIR DONORSAuckland Philharmonia Orchestra gratefully acknowledges the following generous donations to our Chair Donor programme. Chair Donors enjoy a special relationship with individual orchestra players and receive invitations to exclusive events throughout the year. The minimum gift to become a Chair Donor is $4,000 annually.

CONCERTMASTER CHAIRS ($10,000)The Wallace Foundation The David & Genevieve Becroft

FoundationDame Jenny Gibbs

MUSIC DIRECTOR ($15,000)Rod and Reel Tackle Ltd

PRINCIPAL & TUTTI CHAIRS ($4,000 minimum annual donation)Tony & Deirdre Anselmi Family Trust

Auckland Philharmonia Orchestra Friends

Leigh & Jennie Auton

Alex Baker

Charline Hamilton Baker

Adrian Burr

Warren & Sandra Cant

Barry & Trish Clapham

Robert & Louise Clark

Stephen & Laura Dee

Paul & Alison Dyson

Richard & Elizabeth Ebbett

Charles & Tana Fishman

Richard Frechtling & Carole McIntosh

Mark & Amber Gatward

Barbara Glaser & Richard Panting

John Griffiths

Richard & Lois Hadfield

Neil & Jane Haines

Stephen & Gail Hofmann

Michael & Dame Rosie Horton

Karen Kennedy

Murray & Jill Lander

Stephen Lloyd

David Lovell

MakeReady Ltd

Marshall Day Acoustics

Geraint A. Martin & Sam Cliffe

Kevin Martin

Dame Rosanne Meo

Dr Tom & Ann Morris

Robert & Lynne Morton

Anna Nathan

Denver & Prue Olde

Gary & Dot Paykel

Penelope Peebles & James Sutherland

Peter Pritchard & Belinda Vernon

Ralph & Penny Roberts

Sylvia Rosevear

David & Dian Ross

Gregory & Vlasta Shanahan

Signs Around Town Ltd

Andrew & Jenny Smith

Janet Smith

Julian Smith & Craig McAlpine

Martin Sowter & Alison Pereira

Rua & Clarrie Stevens Charitable Trust

Haydn Staples & Lynley Stewart

Brian & Pam Stevenson

Dame Adrienne Stewart


Penelope Weber

Mike & Debbie Whale


2 anonymous donors

For information about the Chair Donor programme please contact Laura Dee, Director of Fundraising on (09) 638 6266 ext 233 or [email protected] or Caitlyn Westbrooke on (09) 638 6266 ext 234 or [email protected]



21ST CENTURY CIRCLEThe 21st Century Circle recognises donors who have made gifts in their wills to the Auckland Philharmonia Foundation.

The Auckland Philharmonia Foundation is dedicated to securing an inspirational future for the APO through its endowment fund. All gifts made in wills help build this endowment, which will enable the orchestra to go from strength to strength and play a part in shaping the cultural future of Auckland.

June Allen

Dr Ian Ball

Carol M Best

Kevin Bishop

John Boscawen

Canterdale Trust

Angela Caughey

Pamela Chalmers

Kath Cherney

Barry Clapham

Tom Darrington

C L Davidson

Christopher Devereaux

Ed & Una Dowding

Robert G Eady

Richard & Elizabeth Ebbett

Graeme Edwards

Robert & Anne Feigel

Judy Ganley

Roger Giese

Barbara Glaser

Jean Glenister

Pamela Gould

Lois & Richard Hadfield

Graeme & Margaret Hitch

Robert & Hilary Howard

Eric Johnston & Alison Buchanan

Frank Jones

Liggins Family Trust

Ken & Pat Meiklejohn

Pamela Melding

Darryl Milner

Dr Tom & Ann Morris

Denver & Prue Olde

Jackie Pittman

Dame Judith Potter

John & Jessica Pybus

Carolyn Reid

Claire Reynolds

Julia Reynolds

Sylvia Rosevear

David & Dian Ross

Stewart & Pauline Rundle

Marin Segedin

Gordon and Madeline Stern

Ian Stevenson

Anne Stewart

Garrick Stuckey

Sir James Wallace


Lynette Youlden

There are further 44 anonymous promised bequests.

The Auckland Philharmonia Foundation gratefully acknowledges recent bequests advised and received from the estates of Margaret Forde, Richard Ratcliffe, Barbara Jackson, Mary Mark-Brown, Lesley French and Gwendolen Lang, and donations from Kevin Bishop and anonymous donors. The Foundation also gratefully acknowledges the gift of the Ikebana International Auckland Trust 2008-2017.

For information about leaving a gift in your will to the Auckland Philharmonia Foundation please contact Christopher Johnstone, Fundraising Manager on (09) 623 5628 or [email protected]

32 apo.co.nz


BOARD AND SOCIETYPATRONS

Dame Kiri Te Kanawa, DBE, ONZ

Dame Catherine Tizard, GCMG, GCVO, DBE, ONZ, QSO

Sir James Wallace, KNZM, ONZM

Dame Rosanne Meo, DNZM, OBE

VICE PATRON

Dame Jenny Gibbs, DNZM

AUCKLAND PHILHARMONIA ORCHESTRA BOARD

Geraint A. Martin (Chairman)

Penelope Peebles (Deputy Chair)

Leigh Auton

Richard Ebbett

Neil Haines

Kieran Raftery

Eric Renick

Julian Smith

AUCKLAND PHILHARMONIA ORCHESTRA SOCIETY EXECUTIVE COMMITTEE

Secretary Carl Wells

Chairperson Huw Dann

Mark Bennett

Bridget Miles

Sue Wedde

Tim Sutton


FOUNDATIONCHAIR

Belinda Vernon

TRUSTEES

Robert Clark

Richard Ebbett

Mark Gatward

Haydn Staples

Simon Williams

Peter Wilson, ONZM



ADMINISTRATION


SOCIETY LIFE MEMBERSChristopher BlakeAdrian BurrTrevor CrawfordChris DevereauxVictor DoubleBarry EnsorStephen FisherGraeme HitchJohn Hopkins

Richard HorneKenneth HutchingsStanley JacksonWayne LairdKeith LangtonChristine McLarenPaul McLarenDame Rosanne

Meo, DNZM

Susan MiddletonJames MortonMaryanne MummerySean MurphyDenver OldeHelen PalmerJohn PeeblesCarolyn ReidDavid Ross

Peter ScholesGregory ShanahanVlasta ShanahanGwen SkinnerBrian StevensonPhilip SumnerDavid TaylorJames TennantAlan Topham, OBE

Don TurkingtonJohn UreMichael WeirLloyd WilliamsPeter WilsonDavid Woodbridge

GENERAL MANAGEMENTChief Executive Barbara GlaserPA to CEO/Receptionist TBC

ARTISTICDirector of Artistic Planning

Ronan TigheOrchestra Manager Wendy

GardinerLibrarian Robert JohnsonDeputy Librarian TBCArtistic Coordinator Debbie

NicholsonAssistant Orchestra Manager

Amber ReadArtistic Administrator Sam Torrens

OPERATIONSDirector of Operations John Ure,

MNZMProduction Supervisor Stuart

McCannDeputy Production Supervisor

Adrian Raven

BUSINESS SERVICESDirector of Business Services

Natasha WheelerAccounts Administrator/Payroll

Stephanie DixonAccounts Assistant/Tessitura

Implementation Co-ordinator Wynn Riechelmann

BUSINESS PARTNERSHIPS AND MARKETINGDirector of Business Partnerships

and Marketing Stuart AngelMarketing Manager Tracey

HoldsworthTicketing & Subscriptions

Assistant Blair CooperPublicist & Communications

Manager Tiana LyesBusiness Partnerships

Executive Edward McKnightBusiness Partnerships and

Marketing Executive Rahul PatelMarketing and Digital Media

Coordinator Hao PengAssistant Marketing Manager

Helen SpoelstraMarketing Assistant TBC

DEVELOPMENTDirector of Development Laura

DeeDevelopment Coordinator

Lauren GarrettFundraising Manager Christopher

JohnstoneAnnual Giving Programmes

Executive Caitlyn Westbrooke

APO CONNECTINGDirector of APO Connecting

Rachael BrandAPO Connecting Producer

Claudia RuffAPO Administrative Assistant

Natasha PearceInspire Facilitator Chelsea Wong

SISTEMA AOTEAROAMusic Director Jess HindinProgramme Manager Sistema

Aotearoa Rosalind GiffneyProgramme Support Assistant

Bleau Bustenera

34 apo.co.nz


CRESCENDOCrescendo is the APO’s membership programme. Funds raised through membership play a vital role in supporting the APO, in particular the concert season and the APO Connecting education, community and outreach programme. Crescendo provides opportunities that will enrich your experience of the APO. You can see behind the scenes, get closer to the musicians, meet the artists and conductors, receive inside information on the season’s programme and get to know the wider APO family. Events run throughout the year and offer something for everyone. Membership begins at $75 and new members are always welcome.

We would like to thank all Crescendo members for their support. It is greatly appreciated.

Contact: Caitlyn Westbrooke, [email protected], (09) 638 6266 ext 234.


FRIENDSThe Auckland Philharmonia Orchestra gratefully acknowledges the invaluable support of volunteers who give substantial assistance behind the scenes and at each performance.

Lend a helping hand – Join the APO Friends

The Friends of the APO are an integral part of the Auckland Philharmonia Orchestra family. Founded in 1981, the Friends help the orchestra in a variety of ways including selling programmes at concerts and providing suppers for guest artists and the orchestra. Funds raised from Friends events, subscriptions and raffles are donated to support the APO Connecting programme of education, outreach and community initiatives, and the Chair Donor programme. Membership to the Friends is open to all. Annual dues are a modest $30 per person and benefits include newsletters, invitations to monthly Meet The Artist mornings and, most of all, the satisfaction of knowing that your contribution helps support an essential element of Auckland’s cultural life.

Contact: Anne Stewart, Membership Secretary: [email protected]

PRESIDENT

Bryce Bartley

SECRETARY

Anne Norris



SPONSORSAuckland Philharmonia Orchestra gratefully acknowledges the significant contributions made by the following corporate sponsors.

PLATINUM

GOLD

SILVER

BRONZE

Adrian Malloch PhotographyImpressions InternationalJohn Picot – Picot Technologies

Karajoz CoffeeMarshall Day AcousticsMeadow Mushrooms

Orongo Bay HomesteadScarecrow – deli, café & florist

36 apo.co.nz

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©Hilton Worldwide 2014

AUCKLAND PHILHARMONIA ORCHESTRAPO Box 7083 Wellesley St Auckland 1141

Auckland Town Hall 301-303 Queen Street Auckland 1010

Phone (09) 638 6266 Fax (09) 623 5629 APO Ticketing (09) 623 1052

Email apo @ apo.co.nz Website apo.co.nz Facebook facebook.com/aporchestra Twitter @aporchestra Instagram aporchestra

OPERA IN CONCERT - Auckland Philharmonia Orchestra

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Transcript of OPERA IN CONCERT - Auckland Philharmonia Orchestra