8
Principal sponsor www.cso.co.nz Series sponsor Kaleidoscope Colours Photographer David St George
2 3
Principal sponsor
www.cso.co.nz
Series sponsor
Kaleidoscope Colours
Photographer David St George
1
Artists
Benjamin Northey Chief Conductor
Since returning to Australia from Europe in 2006, Benjamin
Northey has rapidly emerged as one of the nation’s leading
musical figures. Since 2011, he has held the position of
Associate Conductor of the Melbourne Symphony Orchestra. In 2015,
he became Chief Conductor of the Christchurch Symphony Orchestra.
Northey studied with John Hopkins at the University of Melbourne
Conservatorium of Music and then with Jorma Panula and
Leif Segerstam at Finland’s prestigious Sibelius Academy.
He has appeared with the London Philharmonic Orchestra, Mozarteum
Orchestra Salzburg, Hong Kong Philharmonic, National Symphony
Orchestra of Colombia, New Zealand and Christchurch Symphony
Orchestras, Auckland Philharmonia and the Southbank Sinfonia
of London. He has collaborated with acclaimed artists including
Julian Rachlin, Alban Gerhardt, Marc-Andre Hamelin, Arnaldo Cohen,
KD Lang, Kurt Elling, Tim Minchin, Barry Humphries, Slava Grigoryan
and Emma Matthews.
In Australia, Northey has made his mark through his many critically
acclaimed appearances as a guest conductor with all the Australian state
symphony orchestras as well as opera productions, including L’elisir
d’amore, The Tales of Hoffmann and La sonnambula for State Opera
of South Australia and Don Giovanni and Cosi fan tutte for Opera
Australia. Recordings include several orchestral releases for ABC
Classics with the Melbourne, Sydney, Tasmanian, Adelaide and West
Australian Symphony Orchestras.
Northey is the recipient of numerous awards, including the 2010
Melbourne Prize Outstanding Musician Award, the Brian Stacey
Memorial Award, the Nelly Apt Scholarship and the 2007 Limelight
Magazine Best Newcomer Award.
2014 engagements included Carmen for Opera Australia, Into the
Woods for Victorian Opera, Malaysian Philharmonic, New Zealand
Symphony, Auckland Philharmonia, Melbourne, Sydney, Queensland,
Tasmanian and West Australian Symphony Orchestras and the
Christchurch Symphony Orchestra; in 2015, he will return to all
the major Australian orchestras, the HKPO, the NZSO and conduct
Turandot and L’elisir d’amore for Opera Australia.
Lamb & Hayward is locally owned and operated and a proud supporter of the arts in Canterbury. Our sponsorship of the CSO Masterworks Series is a commitment that began over 22 years ago and reflects our wish to contribute back into our community.
LAMB & HAYWARDF U N E R A L D I R E C T O R S
Proud to be Principal Sponsor of the CSO
Keeping the focus on our community
3
Artists
Ariana TikaoSinger/composer
Ariana Tikao is a singer and composer
of Kāi Tahu (Ngai Tahu) descent.
Although now living in Wellington, her
music is inspired and influenced by her Māori
ancestry and the dramatic landscape of Te
Waipounamu (the South Island). She began
writing waiata in the Kāi Tahu dialect while
studying at Otago University in the early ‘90s
and started performing in 1993 with the folk
group ‘Pounamu’.
Ariana started her solo music career in the early
2000s and has become well known for both
her engaging live performances and critically
acclaimed recordings. She has released
three solo and two collaborative albums and
several music videos, one of which (for her
waiata ‘Tuia’) won an international award
at the imagiNATIVE film + media festival in
Toronto in 2009. She is also a member of the
Christchurch-based Māori-Celtic themed folk
group ‘Emeralds and Greenstone’.
Nearly a decade ago, Ariana began playing
taoka puoro (Māori instruments, also known
as taonga puoro). She has been mentored
and supported by Richard Nunns and Brian
Flintoff, two of New Zealand’s foremost leaders
in the revival of these remarkable instruments.
In March this year, Ariana performed with the
Auckland Philharmonia Orchestra for Kenneth
Young’s composition In Paradisum where she
played koauau and sang.
Her current projects include the launch of a new
group, ‘ARA’, which is primarily based on taoka
puoro, with Alistair Fraser and Rob Thorne.
They plan to release an EP in 2015.
Saturday 4th July, 7.00pm Horncastle Arena
Hamish McKeich Conductor
Book now at Ticketek.co.nz or 0800 842 538 Service fees may apply
Presentation licensed by Disney Music Publishing
& Walt Disney Studios Motion Pictures, Non-Theatrical © Disney
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F u l l l e n g t h m o v i e a c c o m p a n i e d b y a l i v e o r c h e s t r a
Live in Concert
Principal sponsor Associate Concert Sponsor
4 5
Programme Notes Programme Notes
Douglas Lilburn (1915-2001) is generally
recognised as the first composer to
introduce a distinctively New Zealand
“voice” into this country’s compositional canon.
Across the Tasman, from the 1960s onwards,
Lilburn’s near contemporary Peter Sculthorpe
was developing a musical idiom that would
eventually secure him a similar reputation.
Each decade of Sculthorpe’s composing life
saw him develop in specific stylistic directions
and through differing musical forms, many of
them strongly bonded to Asian, Pacific Basin
and – increasingly – Australian cultural identities.
The Sun Music series represents four of what
are essentially orchestral tone poems, written
between 1965 and 1967. Sculthorpe assigned
the title “sun” to these works – as he did to
related compositions: the ballet Sun Music
(1968) and Sun Music for Voices and Percussion
(1966) – to capture the scintillating columns of
light produced by sunrays striking (and passing
through) various forms and structures, as well as
the sun’s arid harshness and immense power.
Sun Music III is the first of the four tone poems
to incorporate Balinese gamelan textures; the
term “gamelan” referring to an Indonesian
instrumental ensemble, heavily weighted
towards percussion instruments, as well as to
the resulting aural effects – in particular driving
rhythms, and subtle changes in dynamics and
pace. Sun Music III also evokes quintessentially
Australian soundscapes. As one writer has
remarked: “The sounds of the Far East…are
juxtaposed with wild string harmonics and
incredibly subtle use of percussion, while long-
breathed themes of utmost desolation place us
square in the middle of the Outback”.
New Zealand-born composer and sound
artist Lissa Meridan began her studies
in composition at the University of
Auckland, where she was awarded a succession
of prizes in electroacoustic music, instrumental
music and vocal composition. Around the time
of – and following – her appointment to the post
of Director of the Lilburn Electroacoustic Music
Studios at Victoria University of Wellington in
2000, Meridan received further awards from
New Zealand orchestras and foundations.
After completing a one-year artist-in-residency
at Cité Internationale des Arts in Paris in 2007,
Meridan made the decision to remain in Europe
to devote herself fully to composition. In the
succeeding years, she has received a number
of commissions, including a quiet fury for the
New Zealand Symphony Orchestra. This work
was premiered by the NZSO under Hamish
McKeich – joined by Michael Norris for the
live electronics – at Wellington Town Hall on
29 May 2009.
The inspiration for a quiet fury derived from
Meridan’s recordings of the rich cacophony of
noises heard daily on the bustling streets of Paris.
But, as Meridan listened to these recordings she
gradually discerned potential musical material
hidden in these “background hisses and
hums, chatterings and otherwise banal noises”.
The resulting work comprises a series of
largely static soundscapes into which various
instrumental groupings (particularly brass and
percussion) and electronic effects intrude – and
depart from – in waves of rising and falling pitch
and volume.
The “various energies or furies” that the
composer refers to in a quiet fury are, by turns,
halting, eerie and enigmatic, and forceful
and frenetic. The closing bars fall away into
controlled and passive intensity, as mysterious
as the shimmering sonic tableau with which the
work opened.
Hungarian-born Béla Bartók is recognised
as one of the foremost composers of
the 20th century, and a pioneer in
the identification and collection of folk music
which he incorporated into his mainstream
composition. He wrote only three stage works
– all comparatively early in his career: the
opera Bluebeard’s Castle (1911), a ballet
The Wooden Prince (1914-16) and a one-act
pantomime/ballet The Miraculous Mandarin
(1918-19).
The narrative for The Miraculous Mandarin first
appeared in a Hungarian literary magazine in
1917, and Bartók wasted no time in contacting
the author (Menyhért Lengyel) with a view to
setting the text to music. The writing evolved
slowly, however, and Bartók finally completed
the orchestration of the full score in 1922/23.
Another four years passed before the work
was premiered in Cologne, in November
1926 – and immediately banned after its
first-night performance.
This moral outrage arose directly as a result of
the lurid story line – a “nasty little tale of urban
depravity”, as one commentator has remarked.
Three ruffians set up an attractive woman in the
window of a brothel to lure men in to be set upon,
robbed and evicted from the premises. After two
foiled attempts with men who turn out to be
penniless, a wealthy Chinaman enters the room,
to the horror of the young woman who recoils
from his lust-filled advances. After stripping him
of his valuables, the ruffians attempt to murder
the Mandarin who displays supernatural powers
sufficient to survive suffocation and hanging,
before he is finally run through with swords and
dies in the young woman’s embrace.
Bartók responded to these feverish tableaux
with an orchestral score as sumptuous and
exhilarating as any that he wrote. The music
bristles with all manner of colourful effects,
including glissandi, trills and tremolos,
scintillating scale passages, rapid changes of
rhythm and tempo, and thick cluster chords
to give weight to the more dramatic moments.
The frenetic pace slows down in the eerie,
seductive dance sequences, but the overall tone
is one of great energy and power; what Bartók
himself – in writing to his wife – described
tellingly as “hellish music”.
Philip Brownlee is a Wellington-based
composer and sound artist who has
worked extensively with other composers
and performers, including Richard Nunns,
whose research and performing interests centre
on traditional Māori musical instruments. He has
explored electroacoustic music as an adjunct to
orchestral writing, and has a particular interest
in the relationship between improvisation and a
fully-written-out score.
Ariana Tikao (Kāi Tahu) is also based in
Wellington, but draws much of the inspiration
for her song-writing and composition from her
Ngāi Tahu descent and South Island upbringing.
She frequently performs live (both as a singer
and instrumentalist), and has made a number
of solo and collaborative recordings.
Ko te tātai whetū – Concerto for taonga pūoro
[musical instruments] – conjoins two cultures
(Māori and European), two musical idioms
(semi-improvisatory and realised, i.e. notated),
and two generations of instruments: traditional
Māori instruments of 400 years ago and the
sections of a contemporary Western orchestra.
The Concerto also incorporates a Māori waiata
(“song” or “chant”) which recounts the legend
of Tāne, who entered the underworld in search of
his wife and returned to the living world to raise
their descendants, taking with him stars to adorn
the sky father Raki (Rangi).
The Concerto is in one continuous movement,
taking the form of a sonic framework that
instruments and voice enter into and depart.
Sections of calm and stasis contrast with
more energised melodic fragments, and long-
sustained notes (particularly from the strings)
provide a backdrop for muted interjections
from percussion and soloists. The tempo is
generally unhurried throughout, and includes
pauses that allow ngā taonga pūoro to showcase
their distinctive qualities of tone and timbre.
Opening with the clear single strokes of the
pahū pounamu, the Concerto closes with the air
sounds of the soloists gradually dissipating into
complete silence.
Peter Sculthorpe (1929-2014) Sun Music III Lissa Meridan (b.1972) A Quiet Fury for Symphony Orchestra and Live Electronics
Béla Bartók (1881-1945) The Miraculous Mandarin, Pantomime In One Act, Op. 19Philip Brownlee (b. 1971) and Ariana Tikao (b. 1971) Ko te tātai whetū – Concerto for Taonga Pūoro and Orchestra
Programme notes by Paul Goodson
6 7
Introducing the Orchestra
Acting Concertmaster
Sarah McCracken
Acting Assistant Concertmaster
Bogdan Kievski
Violin 1
Jan van den Berg^ Natalia Lomeiko Cathy Irons
Amandine Guerin Jennie Goldstein
Carlo Ballara Anne Lardner
Violin 2
Iryna Ionenko* Milana Kornienko+
Bistra Joachim Dimitrova Cornelia Didenco Juno Pyun
Julie Pettitt Pamela Hooper Nicola Fogden-Smith
Viola
Serenity Thurlow* Vyvyan Yendoll# Pippa Mills Kerrin Brizzell
Beth Goodwin Ian Bolton Dorian Liebert Philippa Lodge
Cello
Galyna Zelinska* Tomas Hurnik+ Vivien Chisholm
Dmitri Bulgakov Caroline Blackmore Naomi Deacon
Double Bass
Viktor Filippochkin* Ross Radford+
Yuri Lomeiko Gerald Oliver
Flute
Tony Ferner* Margo Askin+ Justin Standring
Oboe
Jennifer Johnson* Susan McKeich+ Wendy Coxon
Clarinet
Ellen Deverall* Jonathan Prior+ John Robinson
Bassoon
Selena Orwin* Julie Link# Perry Carter
Horn
David Cox* Antonio Dimitrov
Bernard Shapiro+ David Mueller-Cajar
Trumpet
Thomas Eves* Cameron Pearce# Barrett Hocking
Trombone
Karl Margevka* Scott Taitoko+
Bass Trombone
Benjamin Robertson
Tuba
Nigel Seaton*
Timpani
Mark La Roche*
Percussion
Brett Painter* Roanna Funcke+ Jeremy Thin’
Douglas Brush Vicki King Rachel Thomas
Harp
Helen Webby*
Piano
Richard Chandler
Celeste
Grant Bartley
Bull Roarer
Thomas Ibister Seong-June Her
Robert Petch Ngarama O’Keefe
^ Concertmaster Emeritus * Principal + Associate Principal # Acting Associate Principal ~ Principal Emeritus ‘ Sub Principal
Tonights Programme
Sun Music III Peter Sculthorpe
Ko te tātai whetū (Concerto for Taonga Puoro),
World Premiere Philip Brownlee & Ariana Tikao
i n t e rva l
A Quiet Fury Lissa Meridan
The Miraculous Mandarin op.19 Béla Bartók
Concert duration: Approx 90 minutes. Tonight’s performance is being recorded by Radio New Zealand Concert.
The Orchestra would like to acknowledge the generous support of Mainland Foundation for the venue hire for tonight’s performance.
8 9
Chair Programme
1. Conductor’s Podium
Sir Robertson Stewart and Dame
Adrienne Stewart DNZM, ONZM,
QSM, LLD (Hons)
2. Concertmaster
3. Assistant Concertmaster
4. First Violin
Bruce & Mary Irvine
David & Joan Ward
David & Hilary Stock
Ernest & Catherine Henshaw
Farina Thompson Charitable Trust
Friends of the CSO
Lamb & Hayward
Dr Prue Tobin
Robin & Ralph Redpath
Lyndsey Hadlee
Chancellors Syndicate – Dr R Mann, Dr John Wood,
Dr Rex Williams
Jubilee Syndicate –
Anthony Wright, Dame Adrienne
Stewart, Jenny May,
Jenny Harper, Margaret Austin
5. Principal Second Violin
Sheelagh Thompson
6. Associate Principal Second Violin
Chairlift Syndicate –
Diana White Johnson,
Graeme & Victoria Woodley
7. Second Violin
Michael & Lesley Petterson OL
Sheelagh Thompson
Janet & Richard Francis
Symphony Strings Syndicate
–Dr Alistair & Susan Stokes,
Selwyn & Patsy Rodda, Pat
Pilkington, Julie King, Bernice
& Murray Ireland, Barbara
Olsen, Friends of the CSO
Sunday Syndicate –
Peter & Jean Hyam
8. Principal Viola
Christopher Marshall
9. Associate Principal Viola
10. Viola
Margaret Hutchings
Charitable Trust
Dr Prue Tobin
Richard & Kate Burtt
RJ and DC Murfitt Family Trust
11. Principal Cello
Sheelagh Thompson
12. Associate Principal Cello
Syndicate - Dave Evans,
Colin & Tina Ross
13. Cello
Kerry & Mandy Dellaca
Adrienne Pidgeon
The Isaac Conservation
and Wildlife Trust
Cantabile Syndicate – Richard
& Jeannie Gluyas, Felicity Price,
Nancy Lady Stewart, Kate Stutter
Pianissimo Syndicate – Monica
& Bill Luff, Pauline Scanlan
14. Principal Double Bass
Bernice & Murray Ireland
15. Associate Principal
Double Bass
16. Double Bass
Ruvae Britten
Syndicate - Joan Wilkinson,
Margaret Hutchings
Charitable Trust
17. Principal Flute
Ros & Philip Burdon
18. Associate Principal Flute
19. Piccolo
20. Principal Oboe
Toniq Software Development Ltd
21. Associate Principal Oboe
Syndicate -
Murray & Co, Diana Carey
22. Cor Anglais
Linda & Warwick Webb
23. Principal Clarinet
Hiwiroa Trust
24. Associate Principal
Clarinet
Syndicate - Diana & Graeme
McGlinn, Jane Weston,
Jan Webley
25. Bass Clarinet
26. E Flat Clarinet
Blowhard Syndicate –
Tony Hughes Johnson,
Pauline Scanlan,
Monica Hunter & Bill Luff
27. Principal Bassoon
Syndicate - Tony & Margaret
Sewell, Philippa Bates, Annie Lee
28. Associate Principal
Bassoon
Farina Thompson Charitable Trust
29. Contra Bassoon
Cavell Leitch
30. Principal Horn
Sonata & Allegro Syndicates –
Julie King, Lesley & Gale Fursdon,
Gywn Rogers, Peter Barton,
Jenny Pinney, Rowena & Albert
Yee, Beverley Cocks, Jennifer
Jackson, Gay Longbottom,
Selwyn & Patsy Rodda, Patsy &
Keith Wardell, Michael & Patricia
Ryan, Derek & Marcia Cockburn,
Bruce & Diana Carey, Michael
McDonald, Elizabeth Winkworth,
Lorraine Logan & David Martin
31. Associate Principal Horn
32. Horn
Dr Therese Arseneau
& Dr Don Elder
33. Horn
Wynn Williams
34. Principal Trumpet
Dame Adrienne Stewart DNZM,
ONZM, QSM, LLD (Hons)
35. Associate Principal
Trumpet
Barbara, Lady Stewart
36. Trumpet
Dame Adrienne Stewart DNZM,
ONZM, QSM, LLD (Hons)
37. Principal Trombone
Syndicate - Steven & Helen
Wakefield, Ben & Angela Evans,
Roger Barker
38. Trombone
Robin & Ralph Redpath
39. Bass Trombone
Woolston Brass Syndicate –
Tony Lewis, Graeme Coomer
40. Principal Tuba
41. Principal Timpani
Coral Mazlin-Hill
42. Principal Percussion
Friends of the CSO
43. Associate Principal
Percussion
44. Percussion
Bob & Vicki Blyth
Big Bang Syndicate -
Peter Wilkinson, Michael &
Jilly Marshall, Geoff Brodie,
Tim Harding
45. Piano
Ernest & Catherine Henshaw
46. Celeste
CSO Foundation
47. Organ
Peter & Kay Squires
48. Harp
Peter & Kay Squires
Chair Programme
T he Chair Programme is a special
opportunity to become closely involved
with the CSO and provide invaluable
support for the work of the orchestra.
Join as an individual or as part of a syndicate
and enjoy all the benefits of being closely
engaged with the life of the CSO through
regular updates on the orchestra, our concerts
and other activities.
We will acknowledge your support in all
relevant CSO publications and keep you
informed on how your donation is being used to
benefit the orchestra.
Throughout the season you will have the
opportunity to meet with the players and to see
behind the scenes with invitations to a wide
variety of events including dress rehearsals,
concert talks, pre and post-concert functions
with artists and conductors and our annual
Chair Supporter Gala.
For more information on how to become a Chair Supporter:
Contact Sarah Bramhall
Sponsorship & Fundraising Co-ordinator
Email [email protected]
Phone 03 423 9555
Website www.cso.co.nz
Become a CSO Chair Supporter and invest in the future of the Orchestra
Available Chair Supported Chair
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10
10
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30
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292728242325
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42
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3839
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16
46
45
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16
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44
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10 11
Friends & Foundation
CSO Foundation Trust
W elcome to the Friends of Christchurch
Symphony Orchestra. The Friends of
the CSO have been in existence for
many years but not everyone knows about us.
We help support our orchestra financially and
share some great moments along the way.
We have some wonderful events planned for 2015
and invite you to come along and enjoy them
with us. You will have the opportunity to meet
our new Chief Conductor, Benjamin Northey,
newly-appointed Concertmaster Martin Riseley,
as well as some of the celebrated guest artists who
will perform with the orchestra. You will also have
the opportunity to meet the players as real people,
not just ‘an orchestra’ performing on a stage.
In spite of what some people may think,
the Friends are not an elite group. People from
various backgrounds who share a common
love of music from the classics to songs from
the shows join the Friends, sharing a passion for
our very own Christchurch Symphony Orchestra.
We are proud to have been invited by the
management of the CSO to co-sponsor the
performance of Pirates of the Caribbean: Dead
Man’s Chest. We embrace the challenge to raise
a significant amount of money to achieve this
and know from past experience that there is
much fun to be had while fundraising. There is
also the tangible reward of knowing we have
been instrumental in making it possible to bring
this wonderful performance to concert goers.
However, the Friends are not only about
fundraising for the orchestra. We also arrange
a variety of social occasions for our members
throughout the year to give them the opportunity
to meet others who share their interest in music.
So please come and join us. Annual subscriptions
are very reasonably priced at $50 for adults
and $30 for seniors (over 65). For this small
investment, you will be able to enjoy the privileges
and benefits of membership throughout the year.
We will keep you informed of what’s happening
within the CSO family in our quarterly newsletters
and send you invitations to all our events.
We look forward to welcoming you.
*As the Friends are registered with the Charities
Commission, all donations may be tax-deductible in
accordance with taxation legislation.
T he CSO Foundation Trust, created
in 1994, is dedicated to securing
the future of the Christchurch
Symphony Orchestra.
The Foundation is independent of the CSO
Trust which governs the CSO but works in close
harmony with the board to support the orchestra.
The Foundation has three major projects.
• The Foundation’s vision is to grow the
endowment fund to a sufficient size that the
income derived, after reinvestment to maintain
the capital base, provides the orchestra with
supplementary funding from time to time.
• Providing a permanent home for the orchestra
in Christchurch in conjunction with the artistic
plan for our rebuilt city.
• Purchasing instruments the orchestra needs.
During 2014, the CSO Foundation purchased for
the orchestra Tubular Bells, Keyboard & Amplifier,
Bassoon Stands and a Drum Kit.
The CSO Foundation Trust is registered with the
Charities Commission and gifts to the Foundation
may be tax deductible in accordance with
taxation legislation.
Gifts to the Foundation of any size will make
a difference to securing the future of music
in Christchurch and the South Island.
Please consider making the CSO Foundation
Trust a beneficiary of your estate and leave a
musical legacy for the orchestra.
Dame Adrienne Stewart, QSM, LLD (Hons)
Please feel free to contact us with any queries:
Mail Friends of Christchurch Symphony
Orchestra Inc, PO Box 20092,
Christchurch 8543
Email [email protected]
Phone Lorraine Logan, Chair 03 358 4919
For further info please contact the CSO Office:
Email [email protected]
Phone 03 943 7797
Community Engagement
On the 15th June, First Violin Cathy Irons will be visiting Woolley Street Free
Kindergarten to do a demonstration on the violin. If you are a principal or a
teacher and you are interested in having CSO players give demonstrations
in your school or kindergarten, please email [email protected]
Kindergarten visit
The CSO’s Community Engagement
Programme is committed to ensuring
that people of all ages and walks of
life have the opportunity to experience live
instrumental music.
Throughout the year, we will be visiting pre,
primary and high schools, as well as rest homes,
all over the South Island. The CSO will provide
tutoring sectionals for youth and amateur
orchestras. A highlight of the programme will be
our innovative and highly acclaimed Residency
in Schools. CSO players work in a primary school
for a week on projects specifically designed to
meet the school’s needs and expectations.
It has been a busy month for us. Last month, the
Community Engagement team, CSO Principal
Oboe Jennifer Johnson and Associate Principal
Percussionist Roanna Funcke worked with the
Blind Foundation in holding the Arts Access
Weekend, 22nd to 24th May, for people who
are blind or who have low vision and who
are interested in music. It was a tactile and
interactive event that gave participants many
opportunities to listen to and play music.
Earlier this month, the CSO held a very
successful concert, Compose Yourself, for more
than 2500 primary school children. The concert,
created by American composer Jim Stephenson,
engaged the students in creating music.
The children were able to have the opportunity
to interact with the orchestra, look at instruments
up close and compose a piece which was then
performed during the concert.
We also held a masterclass with Australian
Grammy-nominated violinist Susie Park, who is
one of the judges of the Michael Hill International
Violin Competition.
12 13
Staff & Board
Board
Management & Administration
Dr Therese Arseneau Chair
Pauline Scanlan Deputy Chair
James Baines
Margot Christeller
Bruce Irvine
Bill Luff
Kathy Meads
Peter van Keulen
Dame Adrienne Stewart Advisor
Gretchen La Roche Chief Executive Officer
Michelle Walsh Marketing Manager
Francesca Lee Marketing and Communications Co-ordinator
Peter McInnes Production Manager
Ian Thorpe Stage Manager
Clare De Courcy Artistic Assistant
Cathy Irons Community Engagement Programme Leader
Jenny Johnson Librarian
Julie Ann Link Artistic Planning Assistant
Sarah Bramhall Sponsorship and Fundraising Co-ordinator
Kerry Dellaca Finance Manager
Sponsors
Principal Sponsor Masterworks Series Sponsor
Associate Concert Sponsor Official Wine Sponsor
Official Airline
Associate Concert Sponsor Associate Concert SponsorBaroque Festival Sponsor Official Wine Sponsor
Funders
Platinum
Gold
Official Catering Sponsor
Official Beer Sponsor
2015 Concert Series
Accommodation Partner
July
CSO Presents
Pirates of the Caribbean: Dead Man's Chest Sat 4th
CSO Presents
CSO Kids
- Christchurch Tue 7th
- Timaru Wed 8th
NZ Opera: Madama Butterfly 23rd – 1st Aug
August
Lamb & Hayward Masterworks
Espaa Sat 15th
RNZB: A Midsummer Night’s Dream 27th – 29th
September
Lamb & Hayward Masterworks
The Romantics Sat 19th
October
Lamb & Hayward Masterworks
War Requiem Sat 3rd
Discovery Concert & Talk: Lilburn at 100 Thu 15th
CSO Presents
Last Night of the Proms 30th – 31st
November
Lamb & Hayward Masterworks
Enchantment Sat 21st
December
Christchurch City Choir: The Messiah Thu 3rd
CSO Presents
A Canterbury Christmas
- Timaru Sat 19th
- Christchurch Mon 21st
