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An opera in three acts by Giacomo Puccini. Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou. Tosca was first performed on 14 January 1900 at Teatro Constanzi in Rome. The performance lasts approximately 2 hours and 15 minutes, including an interval of 20 minutes. Sung in Italian with English surtitles. A New Zealand Opera production.
AUCKLANDASB Theatre, Aotea Centre 17, 19, 23, 25 September 2015, 7.30pm 27 September, 2.30pm
Accompanied by the Auckland Philharmonia Orchestra
WELLINGTONSt James Theatre 10, 15, 17 October 2015, 7.30pm 13 October, 6pm
Accompanied by the New Zealand Symphony Orchestra
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Welcome
Welcome to New Zealand Opera’s second Auckland and Wellington offering for the year … Puccini’s monumental Tosca.
Whose spine doesn’t tingle to the opening chords of this glorious melodrama? The great Russian composer Shostakovich said of Puccini: “He wrote marvellous operas but dreadful music”. Lucky for us Puccini never pretended to do anything else. Towards the end of his life he said God had touched him with His little finger and said “Write only for the theatre” and so he did. Puccini has been responsible for more real, and yet theatrical ‘heart on the sleeve’ emotion than any other operatic composer.
And his Tosca is the opera that conquered the world. This passionate story of lust, revenge and sacrifice has become one of the most loved operas in the repertoire.
Tosca is the fire that burns throughout this musical thriller. She is the ultimate Diva. To bring this lady to life we are thrilled to welcome Orla Boylan, who stunned audiences in our 2013 season of The Flying Dutchman.
In this brand new production this great singing actress is met by men worth fighting for – or against. As Cavaradossi, the brilliant New Zealander Simon O’Neill will unleash the Italianate hero within. Heroic and romantic…he’s got it all.
He meets his match in Phillip Rhodes’s fanatically evil Scarpia, one of the great baddies in all opera. Phillip continues to triumph in European houses and we welcome him back to delight in some delicious villainy. He is aided in his evil pursuit by returning New Zealanders James Benjamin Rodgers as Spoletta and Wade Kernot as Sciarrone.
Wellington resident James Clayton returns as the wronged Angelotti and it is particularly pleasing to welcome back to the stage a giant of opera in New Zealand, Barry Mora to give us his Sacristan. The musical forces of the Auckland Philharmonia Orchestra and New Zealand Symphony Orchestra in the pit and the Freemasons NZ OPERA Chorus under Chorus Directors John Rosser (Auckland) and Michael Vinten (Wellington) will be led by returning favourite Tobias Ringborg. Tobias helmed our last foray into the world of Puccini with the 2013 season of Madama Butterfly. Extraordinary music in the hands of an extraordinary musician.
We at New Zealand Opera couldn’t be more proud to present this great, great work. Enjoy!
Stuart Maunder AMGeneral Director, New Zealand Opera
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Victorien Sardou, Vanity Fair, 1880. Giacomo Puccini, circa 1900.
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A Hit from the start
Giacosa to condense the play into manageable form. The play has a complex plot sprawling across five acts and involving 35 speaking parts. Puccini wanted something more tightly constructed. The opera Tosca has just three acts and 9 major singing roles. Puccini had to talk his librettists out of having Tosca go mad rather than committing suicide. Amazingly, too, Puccini considered dropping the aria “Vissi d’arte” because he feared it held up the action. It took over three years for both score and libretto to be finalised. Contrary to popular legend, however, Puccini did not face any strife from the church over the content of his opera. He consulted a priest friend, Father Pietro Panichelli, to ensure that the opera’s ecclesiastical music was appropriate.
And what of the nasty things critics have had to say about Tosca?
The opera seems to bring out extreme reactions. The composers Gabriel Fauré and Paul Dukas hated it. In the 1930s, the musicologist Gerald Abraham denounced it as “hysterical in the worst Tchaikovskian manner”. Most notoriously, Joseph Kennan called it “a shabby little shocker”. What the critics seemed to object to was the opera’s sensational mixture of sex, sadism, religion and art - plus the fact that all the major characters die. In addition, there were those who thought the libretto was illogical and unclear. In the early 1950s, in his More Opera Nights, the venerable Ernest Newman spent over forty pages minutely comparing Sardou’s original play with the opera’s libretto, always to the latter’s disadvantage. According to Newman and others, the opera doesn’t make clear what exactly the story’s political situation is, doesn’t inform us adequately of the backstories of both Tosca and Cavaradossi, and leaves the type of loose threads which Sardou’s original play neatly sewed up.
The irony is that the old Sardou himself collaborated with the librettists, thoroughly approved of the opera, oversaw its first Paris production and finally declared to Puccini that the opera was a great improvement on the play. He may have been flattering the composer, of course, but in spite of what Newman argued, few people who experience the opera have ever been confused about what is happening.
So Tosca has continued to flourish regardless of the critics’ carping. Antonio Scotti set the standard for Scarpias in an early production, and the role has been filled by such greats as Tito Gobbi and Sherrill Milnes. At the Met in the early 20th century, Tosca was a triumph for Emmy Destinn and Cavaradossi for Enrico Caruso, consoling him for having missed out on the role in the original Rome production. Later performances added nuance to the roles. In the 1930s Maria Jeritza was the first Tosca to sing “Vissi d’arte” while lying down. Maria Callas followed her example. Between the wars, Beniamino Gigli was the first tenor to play Cavaradossi as if he were fully aware that he was going to die, and not escape, adding pathos to his “E lucevan le stelle”. Plácido Domingo played it the same way. Dr Nicholas Reid is an Auckland historian, poet and critic.
Do great operas always have to be rejected by their first audiences before their greatness is accepted? The disastrous debuts of Rossini’s The Barber of Seville, Bizet’s Carmen, Verdi’s La traviata and Puccini’s Madama Butterfly would suggest so. But Puccini’s Tosca suffered no such initial rejection.
Its opening night was just short of a triumph. Tosca opened in Rome on 14 January 1900 – in the city where the opera is set and almost exactly one hundred years after the events of the opera take place. There was a little concern about how the opera would be received. 1900 had been declared a “Holy Year” by the pope. Rome was filled not only with ardent supporters of the church but also with anti-clericals and some anarchists who were spoiling for a riot.
Would the audience dislike an opera touching on the church and political power? Would it provoke some sort of outburst?
The Queen of Italy and the Italian prime minister were in the audience, as were the city fathers of Rome. In the event, the only outburst was the shooshing of latecomers. The diva Hariclea Darclée acquitted herself well as Tosca, Emilio de Marchi was a popular Cavaradossi and Eugenio Giraldoni a suitably sinister Scarpia. Hindsight regrets only that the 27-year-old Enrico Caruso had been turned down when he auditioned for the role of Cavaradossi, because he was considered too inexperienced. The opening night audience called for five encores and there were 21 curtain calls.
Italy’s opera houses had seen far more triumphant debuts than this, but Tosca at once established itself as the favourite it has remained. A recent survey, looking at international opera-houses over the last thirty years, rates it as the world’s 5th most popular opera in terms of productions mounted.
So there was no strife at the opening of Tosca. The strife came in the opera’s gestation, and in the way highbrow critics have reacted over the years.
Victorien Sardou, France’s king of sensational, crowd-pleasing historical melodramas, had written his play La Tosca in 1887 as a vehicle for Sarah Bernhardt. Composers of opera loved Sardou for the extreme emotional situations his plays presented. They were so readily adaptable into the operatic idiom. A total of seven operas (most of them now forgotten) were adapted from Sardou. Puccini loved the play Tosca as soon as he first saw it in the early 1890s. Unfortunately, a rival composer had already snagged the rights to the play. For Puccini, the first level of strife was getting his publisher to trick the rival composer out of the rights.
Once this was accomplished, Puccini’s major headache was getting his regular librettists Luigi Illica and Giuseppe
From its first success, this opera has remained a living thing, with producers often switching its setting to later historical periods to bring out the universality of its themes. It is opera’s prime example of the truth that the opening night audience is not always wrong.
By Dr Nicholas Reid
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Claudia Muzio as Floria Tosca.
Hariclee Darclée as Floria Tosca.
Maria Callas as Floria Tosca.
Maria Jeritza as Floria Tosca.
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A Diva as a DivaBy Laurence Jenkins
at the Metropolitan. For twelve years, from 1921 to her
departure from that company in 1932, she was the main
box office attraction, replacing the dead Caruso in both
audience appeal and scale of fee.
Another singer who took a tumble as Tosca, and,
incidentally, one whom Puccini also favoured in the role,
was the American Emma Eames (1865-1952). Eames,
was, like Tosca’s creator Darclée, totally lacking in
dramatic warmth. On her opening night as Tosca, after
killing Scarpia in Act II, and trying to back away as he
toppled towards her, she tripped on her train and fell over
“…with such violence that my leg was fearfully bruised…”
but she took care never to let this happen again by a bit of
re-staging on her own part.
Claudia Muzio (1889-1936), who had created a
different sort of ruckus from Jeritza in her debut as Floria
Tosca at Covent Garden in 1914 and again two years
later at the Metropolitan, was, astonishingly, the first Italian
to sing the role in the latter house. Unlike Jeritza perfectly
suited to the role physically, she was the greatest singing
actress of her time, dubbed “The Duse of Song”, and her
interpretation of this part elicited superlatives from the
critics of every country in which she sang it. In New York,
after her first Tosca, one critic said: “…Muzio really was
Tosca.”
Muzio was sufficiently linked with the role to be asked
to open the San Francisco Memorial Opera House in 1932
in it. For this occasion, she researched the costumes of
Bernhardt had worn in the original Sardou play and had
Worth of Paris recreate them for her.
Other sopranos have had varying amount of success
with the hapless Floria – Geraldine Farrar, who along with
Muzio, left the Metropolitan in 1922 in the wake of Jeritza-
mania; in the 1950s, Renata Tebaldi, who was tipped to
be the “new Muzio”; in the same era, Dorothy Kirsten,
who sang it almost exclusively in New York; later, Leontyne
Price, the first black woman to sing it, and, unexpectedly,
the great Wagnerian specialist Birgit Nilsson, to name only
a few.
In the 1960s, the unique Maria Callas, though,
obliterated all contenders in the part, both in her short
stage reign and after – via recordings, of course. Her 1964
recording of the opera, with Giuseppe di Stefano, is widely
regarded as one of the best opera recordings ever made.
There is also the black and white television film of Callas
and Tito Gobbi in Act II made during her last appearances
in opera, at Covent Garden, in 1964. The production by
Franco Zeffirelli has become almost sanctified and was
in use by that house until 2004. This film is a textbook of
great operatic acting and ought to be required viewing
for singers with any career ambitions, so completely does
Callas convey the thoughts and actions of her character,
while singing in that, by then, tattered voice, controlling it as
best she can and demonstrating definitively what is meant
by the phrase “art that conceals art”.
Laurence Jenkins is an arts writer and broadcaster.
Vissi d’arte, vissi d’amore. “Why me, Lord? I’ve lived for art and love. I’ve given to the poor. I don’t deserve this.”
Such is the plaintive cry of one of opera’s most identified-with characters, Floria Tosca, in Puccini’s musical melodrama. Virtually every soprano who can manage its tessitura loves to sing this role, and some who couldn’t manage have nevertheless gone on, tried, and failed, some paying with vocal problems. The fact that in playing Tosca, a diva is playing another diva explains part of its allure, but other composers, from Mozart to Cilea, have provided the same opportunity without their prima donnas attracting much attention.
Why is Tosca so beguiling? Her impetuosity and her vulnerable and jealous nature, alongside her incredible resolve and the courage to take brave and drastic action, make her irresistible. And maybe a singer must first herself possess these very qualities before she can be successful in the part. Puccini wrote it for a Romanian soprano, Hariclea Darclée (1860-1939), and partly due to her lack of warmth, the opera was not an unqualified success on January 14, 1900. Darclée had been the first Iris for Mascagni as well as the first La Wally for Catalina, and though, outside Romania, she is all but forgotten now, her fame at the time was considerable.
The most legendary exponent of the role to date was the extraordinary Maria Jeritza. Born in Brno in 1887, she was christened Maria Jedlizková, and decided to Jeritza because she thought it might be easier to pronounce. Jeritza had it all – a remarkably powerful voice, an elegant figure, a charismatic personality – and she possessed a glorious head of blonde curls, perfect skin, and large, cerulean eyes. She achieved “star” status by the time she was in her mid-twenties and Puccini became obsessed with her when attending rehearsals of Tosca in Vienna in 1913. The story goes that immediately before Vissi d’arte she fell and, fearing that she had bloodied her nose, sang the aria from her position flat on her stomach. The composer, ostensibly struck by the originality of the pose, told her never to do it any other way, and she took his advice. Providence had provided a performer with a “gimmick” on which to build fame, and Jeritza was in demand for this part in every opera house in the world, never mind that she became known as “la prima donna prostrate”. Henry Krehbiel, the New York critic, said that he had never before experience the kind of tumult created by her first Tosca
Since Callas, no
modern Floria
Tosca has caught
fire sufficiently
to counter
either archival
or anecdotal
memories of Callas’s
identification with
the role. Like Muzio
before her, Callas’s
ghost haunts the
role in the major
opera houses.
Opera aficionados
would happily travel
backwards in time
to experience the
artistic heights
achieved by Callas,
Jeritza and Muzio,
and reawaken the
realisation that
Puccini indeed
created a “real
woman”, one made,
as were these three
great singers, of
both flesh and steel.
In the beguiling role of Tosca, some great singers have made an immortal impact.
IT TAKES SOLITTLE TOSUPPORTSO MUCHA will is something we all need. Having taken care of your loved ones, choosing to gift a portion of your legacy to the future of your other great love, opera, will touch the lives of ordinary New Zealanders for many years to come. ––––Your generosity will help opera in New Zealand to continue to thrive and will assist the nurturing and training of emerging opera talent. It will help the development of young minds through opera outreach programmes and bring home New Zealand singers who have made it to the
world stage to perform in their home country.––––A gift of this nature is a very personal decision and there are a number of ways you can express your intentions. Bequests, whether modest or substantial, require a simple statement in your will or codicil. Your generous support helps secure the financial and artistic future of professional opera in New Zealand.––––The New Zealand Opera Foundation Trust was formed as a major long-term source of financial support for opera in New Zealand. The Foundation’s mission is to encourage and support the development of opera at a professional standard and to nurture the special vocal talents and creative skills associated with the art form.
––––For more information on making a bequest contact Donald Trott at [email protected] or phone 09 379 4020 x206.
L–R: Wade Kernot, Rachelle Pike and Andrew Grenon in La traviata, NZ Opera (2014). PHOTO: NEIL MACKENZIE.
Safeguarding the Future of Opera in New Zealand
Foundation Bequestors 21 anonymous The Les & Sonia Andrews Cultural Foundation Garry F Bell The Peggy Hutchings Estate Donald Trott Glenda West
Foundation Trustees Sir David Gascoigne KNZM, CBE (Chair), Thérèse Kelly (Administrator), Susie des Tombe, Bill Falconer CNZM, Mark Horton, Margaret Hunn, Jenny Loosley, Paul McLaren, Athol Mann CMG, Barry Mora, Adam Ross, Suzanne Snively ONZM, Donald Trott ONZM, JP, Gus Van de Roer.
Members of the Foundation Members are people who have given meritorious service to opera through governance and management and who have been nominated by the trustees: Sally Abernethy, +Gregory Aim, Jonathan Alver, Scott Ashton, Peter Averi, Graham Beattie, David Bigio, Lew Brown, Bruce Carson, Clare Castle, Don Christiansen, Robin Congreve, Stephen Dee, +Christopher Doig, Graeme Edwards, Chanelle Farmer, Kim Fisher, Creena Gibbons, Dame Jenny Gibbs DNZM, Angela Gorton JP, Mark Horton, Patricia Hurley, Harvey Kerr, David Lewis, Sandra Lawrence, Barbara Matthews, Tony McElwee, +John Morrison, Barbara Moses, Matthew Muir, Lorraine Olphert, Catherine Peters, John Shaw, Sally Sloman ONZM, The Hon Dame Catherine Tizard ONZ, Joanna Todd, Rosalie Thurston, Graham Upson, Dame Beverley Wakem DNZM, James Young.
‘Making a bequest to the operacompany is the least I can do to say thank you for providing me with so many happy and exciting hours of opera going.’
Garry F Bell, Bequestor
+ In Memoriam
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Italy in the 1950s– The Political context of our Tosca
The mafia took advantage of the political situation by offering itself as an ally to this ruling political party. Thus the Christian Democrats entered into an unspoken contract with the mafia in which they would keep the socialists and communists weak in Sicily – by intimidation and assassinations and by pressuring people into voting DC – and the Christian Democrats would in turn use its influence to ensure that the law turned a blind eye to the mafia’s interests in the drug trade and in the construction industry. Consequently in the decade following World War II over 40 socialists and communists were murdered in Sicily alone.
This is the political context of our Tosca: We are in the depths of the Cold War, a regime dominated by foreign interests and the Catholic Church, where the mafia was the sinister power behind the government; a time of secret police, of terror, suspicion and corruption supporting a fragile conservative regime.
“The DC (the
main Italian
Conservative party,
the Democrazia
Cristiana - Christian
Democrats) decided
to accept the mafia’s
support to reinforce
itself in the struggle
against communism.
The people who made
the choice were not
criminals, nor were
they joining with
low level criminals.
They were allying
themselves with a
force [the mafia]
that had historically
played this role. All
of this was justified
in the name of the
Cold War. The mafia
was ennobled by
being given the role
of military arm of
a major political
force. Naturally,
the mafia then drew
on the power of the
government and
became not only a
major political and
social force but an
economic force.
And that’s when
the real adventure
began”
- Francesco Renda,
Storia della Sicilia
(History of Sicily)
The end of World War II left Italy bankrupt and politically divided. The new King Umberto II, called a Constitutional Referendum to decide whether Italy should remain a monarchy. Following a 58% win for the anti-monarchists on 2 June 1946 Italy officially became a republic. In the first post war election the Christian Democrats won 35.2% of the vote, the Socialist Party 17% and the Communist Party 15%.
The Cold War, the nuclear armed confrontation between the Soviet Union and the USA and Western Europe (North Atlantic Treaty Organisation: NATO), dominated post war Europe. Italy, with its western border being communist Yugoslavia, was a front line state against the Eastern bloc. Italy was therefore strategically essential for NATO air bases and intelligence gathering. As a consequence the NATO allies were determined that the Communist Party should never enter government in Italy. In 1947, under American pressure, the Communist Party were expelled from the parliament. With the support of the Catholic Church and NATO the Christian Democrats went on to win a decisive victory in the 1948 general election. The Christian Democrats dominated the Italian political system for the next forty years with the catch cry ‘if you vote Communist then Italy will be taken over by the Soviet Union’.
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Cast, Creative Team, Production Team, Special Thanks
production teamtechnical manager Steve Crowcroft production assistant Hemi Wipiti company manager Jonathan Hodge stage manager Kate Middleton-Olliverdeputy stage manager Miriam Emersonassistant stage manager Youra Hwangassistant stage manager chorus (a) Samantha Vanceassistant stage manager chorus (w) Pam Hindmarshproduction workshop manager Jan Ubels set construction Mike Huaki, Anton Skerlj’Roverscarpenter Frank Checketts head of lighting Jason Morphettlighting assistant Alex Fisherhead mechanist Allan Rockellscenic artist Christine Urquharthead of wigs & makeup Coleta Carbonellwigs & makeup assistant Karina Sanasaryanwardrobe team Lisa Holmes, Nikki Hann, Gayle Jackson, Sophie Ham, Lee Williams, Penny Prattpatternmaker Fiona Nicols chorus director (a) John Rosserchorus director (w) & associate conductor Michael Vintenprincipal, understudy & chorus répétiteur (w) Bruce Greenfieldchorus répétiteur (a) David Kellysurtitles operation (a) Chris Allen and David Kellysurtitles operation (w) Christine Pearce and Jim Pearce
special thanksAntoni Rajwer – Consulting Engineer, Gunnersons, Paint Plus, Auckland Live Technical Staff and Crew, Positively Wellington Venues Technical Staff and Crew, The Royal New Zealand Ballet.
Please Note: Information is correct at the time of printing. The management reserves the right to make alterations to the cast as required due to unavoidable circumstances. Use of cameras, cellular phones and recording devices is strictly prohibited. Latecomers will not be admitted until a suitable break in the performance.
castfloria tosca Orla Boylanmario cavaradossi Simon O’Neillbaron scarpia Phillip Rhodescesare angelotti James Claytona sacristan Barry Moraspoletta James Benjamin Rodgerssciarrone Wade Kernota jailer Jarvis Dams (a), Matt Landreth (w)
a shepherd boy Cameron Brownsey (a), Xavier Francis (a), Archie Taylor (w)
creative teamconductor Tobias Ringborgdirector Stuart Maunderassistant director Tamsyn Matchettset designer Jan Ubelscostume designer Elizabeth Whitinglighting designer Jason Morphett
Featuring the Freemasons NZ OPERA Chorus. Sung in Italian with English surtitles.A New Zealand Opera production.
auckland (a)
wellington (w)
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Synopsis
Act One
An Opera in Three Acts
Morning. The Church of Sant’Andrea della Valle in Rome.
Cesare Angelotti, a political prisoner, has escaped from the Castel Sant’Angelo. He finds refuge in the Attavanti family chapel, using a key hidden in the church by his sister, the Marchesa Attavanti.
As the Sacristan kneels in prayer for the Angelus, Mario Cavaradossi arrives to continue work on a painting of Mary Magdalene. The picture, he admits, has been inspired both by his mistress, the singer Floria Tosca, and by a young woman he has seen at prayer in the church.
As the Sacristan leaves, Angelotti emerges. Cavaradossi recognises him and promises to help. Hearing Tosca’s voice outside, he gives Angelotti a basket of food and hurries him into hiding once more.
Tosca, however, has heard their voices in the church; when she finds Mario alone, her jealousy is aroused. Cavaradossi soothes her, until she sees the Magdalene portrait. Cavaradossi calms her: they agree to meet later.
Angelotti emerges from hiding as the prison cannon announces that his escape has been discovered. Cavaradossi escorts him to safety.
The Sacristan returns: a great political victory has been won, a Te Deum is to be sung in celebration, and Tosca will perform
at the Farnese Palace that evening. The altar boys’ revels end abruptly, however, at the arrival of Baron Scarpia, the Chief of Police, whose men have tracked Angelotti to the church.
A search reveals an empty food basket in the Attavanti chapel, together with a fan bearing the family’s crest. Has Cavaradossi, already politically suspect, helped an escaped prisoner?
Tosca returns: her performance that evening means she and Mario cannot meet that night. Cavaradossi’s absence arouses her suspicions, further fuelled by Scarpia’s insinuations and his revelation of the Attavanti fan.
Tosca rushes away and Scarpia sends his men in pursuit. As the Te Deum reaches its climax, he relishes the thought of victory over both Cavaradossi and Tosca.
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Act Two Act ThreeThat evening. Scarpia’s apartments at the Farnese Palace.
Scarpia, anticipating success, has sent for Tosca. His assistant, Spoletta, returns: a search of Cavaradossi’s villa has failed to find Angelotti, but Cavaradossi has been arrested in his place. As Tosca’s voice is heard from the concert nearby, Cavaradossi refuses to answer Scarpia’s questions. Frustrated, Scarpia sends him to the torturers.
Tosca arrives. Scarpia’s questioning grows more urgent until, hearing Mario’s cries of pain, she reveals Angelotti’s hiding place. Mario is brought in, but his reconciliation with Tosca is short-lived as Scarpia reveals her betrayal. Suddenly Sciarrone enters: news of the political victory was premature – they have suffered a major defeat.
Alone with Scarpia, Tosca bargains for Mario’s life. His terms are simple and, when she reluctantly agrees, Scarpia instructs Spoletta to arrange a mock execution at dawn. After that, the lovers will be free to leave with a safe conduct provided by him.
Victorious at last, Scarpia rushes into Tosca’s embrace, and finds only death on the blade of a knife.
Dawn. The Castel Sant’Angelo.A shepherd boy sings as his flock passes
by. As Cavaradossi, having bribed his jailer, writes a last letter to Tosca, his composure breaks down.
Suddenly, Tosca arrives, revealing Scarpia’s death and the impending mock execution. Spoletta and the firing squad enter. The lovers are confident – Tosca even instructs Mario how to act – but Scarpia plays the final trick: Mario’s death is for real. As Scarpia’s murder is discovered, Tosca leaps to her own death.
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Creative TeamBiographies
background Born in Sweden. Graduated from the Royal College of Music, Stockholm and the Juilliard School of Music, New York as a violinist. A member of the Royal Swedish Academy of Music. opera credits: Madame Butterfly (NZO); Rigoletto (Stockholm Royal Opera, Scottish Opera); L’elisir d’amore (Stockholm Royal Opera, Dalhalla); Don Giovanni (Opera North, Malmö Opera, Danish National Opera); Idomeneo (Malmö Opera, Danish National Opera); La bohème (Stockholm Royal Opera, Opera North); La traviata (Oper Leipzig, Malmö Opera); Barber of Seville, Swan Lake, Die Fledermaus (Norwegian Opera); Turandot (Gothenburg Opera); Le Comte Ory, Ariadne auf Naxos, Otello, La fanciulla del West (Malmö Opera); Manon Lescaut, Tosca, Carmen, Die Zauberflöte, Don Carlos, Eugene Onegin (Stockholm Royal Opera); Il trovatore, Così fan tutte (Scottish Opera); Macbeth (Opera North); Faust (Danish National Opera); Le Nozze di Figaro (Norrlandsoperan); and he has recorded the world première of Foroni’s Cristina, Regina di Svezia (Gothenburg Opera). concert credits: Nobel Prize Ceremony at Stockholm Concert Hall (Royal Stockholm Philharmonic); Beethoven’s Ninth Symphony (Norrköping Symphony Orchestra 100th Anniversary Concert); and has also conducted the Odense Symphony Orchestra, Copenhagen Philharmonic, Aarhus Symphony Orchestra, Gothenburg Symphony Orchestra, Swedish Radio Symphony Orchestra, Orchestra of Scottish Opera and the English Chamber Orchestra.
background Born in Sydney. A director of musical theatre and opera in Australia for the last thirty years. Joined The Australian Opera as Stage Manager in 1978, becoming a Resident Director in 1981. Appointed Staff Director at The Royal Opera (UK) in 1992 while continuing to direct in Australia as well as regional UK, France and the USA. Returned to Australia in 1999 as Artistic Administrator of Opera Australia, before becoming Executive Producer of Opera Australia in January 2004, a post he held until end of 2008. Was made a Member of the Order of Australia (AM) in 2012 in recognition of his contribution to the Performing Arts, and was appointed General Director of New Zealand Opera in 2014. director credits: Tales of Hoffmann, Manon, Gypsy Princess, Don Pasquale, Lindy, My Fair Lady, A Little Night Music (OA); Trial by Jury, HMS Pinafore, Pirates of Penzance (OA, televised nationally on ABC TV); Dusty (2006 Australian Tour); Shout! (2008 Australian Tour); Little Women (Kookaburra); “Music of Andrew Lloyd Webber” (Australian, New Zealand and Asian tour); The Mikado (Opera Queensland); Into the Woods, Sunday in the Park with George and Sweeney Todd (Victorian Opera). Artistic Director of the APEC Cultural performance at Sydney Opera House in 2007 and Australia’s National Day at Expo Shanghai 2010.
background Born in New Zealand. Graduated with a Bachelor of Arts and Bachelor of Music in performance voice (Otago University). Became a member of New Zealand Opera’s Chapman Tripp chorus in 2010 and has since performed in the chorus in productions of Macbeth, The Bartered Bride, Cavalleria rusticana, Pagliacci, The Flying Dutchman, La traviata as well as concert performances of Nabucco and The Rake’s Progress. director
credits: Has directed two award-winning, self-produced shows, L’Amour La More and Oh is for Opera (Opéra Risqué at the Auckland Fringe Festivals – 2011 and 2013). Assistant director for Madama Butterly, Don Giovanni and Britten’s Noye’s Fludde with NZO, and has also worked as assistant director with Opera Factory and her own theatre group, Opéra Risqué.
conductor Tobias Ringborg director Stuart Maunder assistant director Tamsyn Matchett
Proudly supported by Chapman Tripp.
Sponsor of NZ Opera’s Director Development Programme.
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background Born in Wellington. Has designed costumes for New Zealand Opera, Auckland Theatre Company, Silo Theatre, Court Theatre, Red Leap Theatre, Okareka Dance Company, Black Grace, Douglas Wright Dance, Michael Parmenter, Atamira Dance Company, Shona McCullagh, the Royal New Zealand Ballet and The World of Wearable Arts. Designed a play for Pop-Up Theatre in London, which was performed at the Edinburgh Festival. Won the Chapman Tripp Costume Design Award for The Arrival (Red Leap) in 2010; represented New Zealand at the Prague Design Quadrennial in 2003 with costumes for Falstaff (NZO) and again in 2007 with a team of designers who created the exhibition Blow. opera design credits: Don Giovanni, La Bohème, Madame Butterfly, The Bartered Bride, Acis & Galatea, Rigoletto, Cavalleria rusticana & Pagliacci, The Marriage of Figaro, Faust, Carmen, Falstaff, The Barber of Seville, Così fan tutte (NZO). theatre design credits: In the Next Room, Mary Stuart, Well Hung, Equus, Cabaret, Into the Woods, Sweet Charity, Hair, The Rocky Horror Show, The Duchess of Malfi, Pillow Man, My Name Is Gary Cooper, The Importance of Being Earnest, Anne Boleyn, The Glass Menagerie Ladykillers, Rupert (ATC); The Country Wife, La Cage aux Folles, The Great Gatsby, Cabaret (Court Theatre); Three Days of Rain, Irma Vep, The Scene, Holding the Man, When the Rain Stops Falling, Assassins and Tartuffe (Silo Theatre).
background Born in Oamaru. Holds a BA in Art History. Taught art at secondary school level for many years, during which time he illustrated “The Bloke” and an educational early reader book of poetry. Designed and made custom Hot Rods for his own company and won “Best Ford” at the Kumeu Hot Rod show in 2008. Also designs and makes custom motorbikes. As well as being a compulsive sculptor and furniture designer and maker, Jan gained second place in the South Pacific section of World of Wearable Art in 2012 with his piece, Harpigornis. His works are largely held in private collections, however he has a piece titled Kereru at the Auckland Botanic Gardens. Jan has worked in film and television in set construction (Xena, Jack of all Trades, Cleopatra 2525) and started set construction with NZ Opera in 2009. Most recently, Jan designed the set for the 2015 Barber of Seville tour for NZ Opera’s “Outreach” education programme.
background Born in England. Has toured and designed all over the world with such shows as the Chemical Brothers in New York, Holiday on Ice throughout Europe, CA Awards Show at the pyramids in Egypt and Royal Galas at the Ritz Hotel in London in the presence of HM Queen Elizabeth. Came to New Zealand in 2003 and worked with the Royal New Zealand Ballet for five years. Now has his own company, Three Seven Design Ltd. Has been Head of Lighting for London City Ballet, Birmingham Royal Ballet, Royal New Zealand Ballet, NZO, NZ International Arts Festival and Chief Electrician for Towngate Theatre, Essex, Swan Theatre, High Wycombe, Holiday on Ice, Green Division. lighting design
credits: include Coppélia, Verge, Concerto, Équisses, Of Days, Equilibrium, The Anatomy of a Passing Cloud, Si Superious, Bier Halle, Passchendaele, Dear Horizons, Salute (RNZB); Cavalleria rusticana & Pagliacci, Rigoletto (NZO); Ainadamar, Demolition of the Century (NZ Arts Festival); Phantom of the Opera (WMT Productions); Kia Ora Khalid, Tale of a Dog, Boxes (Capital E!). associate
lighting design credits: include Walking with Dinosaurs (WWD Productions).
costume designer Elizabeth Whitingset designer Jan Ubels lighting designer Jason Morphett
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CastBiographies
background Born in Ireland. Won a Helpmann award for her performance of Procne at the Perth International Festival in the world première of Richard Mills’s Love of the Nightingale in 2007. opera repertoire: Gutrune: Götterdämmerung (Opera North); Miss Wingrave: Owen Wingrave (Opéra de Nancy); Senta: The Flying Dutchman (NZO, ENO, Oslo Philharmonic Orchestra, Sydney Symphony Orchestra); Chrysothemis: Elektra, Ellen Orford: Peter Grimes (West Australian Opera); Sieglinde: Die Walküre (ENO, Opéra National du Rhin); Aufseherin: Elektra (Salzburger Festspiele); Elisabeth: Tannhäuser (Teatro Communale di Bologna); title role: Arabella, Ariadne: Ariadne auf Naxos, Danae: Die Liebe der Danae (Garsington Opera); Tatyana: Eugene Onegin (Baden-Baden, Paris); title role: Jenůfa, title role: Káťa Kabanová (Deutsche Oper Berlin, Staatsoper Hamburg, Oper Köln, Opéra de Lyon, Glyndebourne Festival Opera); title role: Iolanta (Opera Holland Park); Lisa: Pique Dame (Komische Oper Berlin, Opera North); Madame Lidoine: The Carmelites (ENO); Governess: The Turn of the Screw (Angers-Nantes Opéra); Female Chorus: The Rape of Lucretia (ENO, New York City Opera). concert appearances: War Requiem (Perth International Arts Festival, APO); Mahler’s Eighth Symphony (Gürzenich-Orchester Köln); scenes from Wozzeck (Royal Liverpool Philharmonic Orchestra); Vier letzte Lieder (Sinfonieorchester St. Gallen, Hallé Orchestra, West Australian Symphony Orchestra); Capriccio final scene (Orchestre National de France).
background Born in Ashburton. Principal artist with the Metropolitan Opera, the Royal Opera House, Teatro alla Scala and the Bayreuth and Salzburg Festivals. An alumnus of the University of Otago, Victoria University of Wellington, the Manhattan School of Music and the Juilliard Opera Center. He is a Fulbright Scholar and was awarded the 2005 Arts Laureate of New Zealand. repertoire:
Siegmund: Die Walküre (Royal Opera House, Metropolitan Opera, Teatro alla Scala, Vienna, Bayerischer, Hamburg and Berlin Staatsopern and Deutsche Oper Berlin); title roles: Parsifal, Lohengrin (Bayreuth Festival); Gran Sacerdote: Idomeneo, Tambourmajor: Wozzeck (Metropolitan Opera); Lohengrin, Parsifal, Florestan: Fidelio, Stolzing: Die Meistersinger (Covent Garden); Parsifal (Vienna Staatsoper); Cavaradossi: Tosca (New National Theatre Tokyo, Deutsche Oper Berlin, Hamburg State Opera); Mao Tse-tung: Nixon in China (San Francisco Opera); Sergei: Lady Macbeth of Mtsensk, title role: Otello (Opera Australia, Houston Grand Opera). concert repertoire: Das Lied von der Erde (The Met Orchestra at Carnegie Hall and Accademia Nazionale di Santa Cecilia, Rome), Missa Solemnis (Boston Symphony), Florestan: Fidelio (Salzburg Festival, BBC Proms and the National Symphony Orchestra at the Kennedy Center), Max: Der Freischütz and Otello (London Symphony Orchestra), Der fliegende Holländer (Chicago Symphony), Janáček’s Glagolitic Mass (NHK Hall Tokyo and BBC Proms at the Royal Albert Hall), Mahler’s Eighth Symphony (Sydney Opera House) and Beethoven’s Ninth Symphony (Royal Festival Hall, London).
background Born in Hastings. Graduated with a Diploma in Performing Arts (Voice) from the Eastern Institute of Technology. Was a 2011/12 PwC Dame Malvina Major Young Artist, a joint recipient of the Circle100 scholarship in 2007 and a PwC Dame Malvina Major Emerging Artist in 2004. Won the Lockwood Aria in 2005 and Lexus Song Quest in 2007. Attended the Cardiff International Academy of Voice. Won second prize in the Montserrat Caballé International Singing Competition in Spain in 2010. Recipient of a Kiri Te Kanawa Foundation (UK) Cover Award for the 2015/16 season at the Royal Opera House Covent Garden for Enrico (cover) Lucia di Lammermoor. repertoire:
Hōhepa: Hōhepa (NZO and the New Zealand International Arts Festival), Tonio/Alfio (cover): Cavalleria rusticana & Pagliacci, Malatesta: Don Pasquale, Monostatos: Die Zauberflöte, Ping: Turandot, Marcello: La bohème (NZO); Enrico: Lucia di Lammermoor (Auckland Opera Studio); Marcello, Aeneas: Dido and Aeneas, Iago (cover): Otello, Balstrode (cover): Peter Grimes (Opera North); Count de Luna: Il trovatore, Scarpia: Tosca (Dorset Festival Opera). Phillip is very grateful for the ongoing mentorship and support he receives from the Kiri Te Kanawa Foundation.
floria tosca Orla Boylan
Proudly supported by the NZ Opera Foundation through a bequest from The Peggy Hutchings Estate.
Proudly supported by Dot and Gary Paykel. Proudly supported by the Kiri Te Kanawa Foundation.
mario cavaradossi Simon O’Neill baron scarpia Phillip Rhodes
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background Born in Australia. One of the leading singers to emerge from Western Australia in recent years. Engaged as a Young Artist with West Australian Opera in 2006 and 2007. repertoire: Figaro: Le nozze di Figaro, Figaro: Il barbiere di Siviglia, The Four Villians: The Tales of Hoffmann, Balstrode: Peter Grimes, Escamillo: Carmen, Tonio: Pagliacci, Enrico: Lucia di Lammermoor, title role: Falstaff, Papageno: The Magic Flute, Iago: Otello, Conte di Luna: Il trovatore (West Australian Opera); Baron Douphol: La traviata (Opera Australia with Handa Opera); Don Alfonso: Così fan tutte (Biwako Hall); Count Ceprano: Rigoletto (NZO). concert repertoire: bass soloist in Haydn’s Mass in Time of War and Puccini’s Messa di Gloria (Tasmanian Symphony Orchestra), Fauré’s Requiem (Collegum Symphonic Choir), Mozart’s Mass in C Minor and Orff’s Carmina Burana (West Australian Symphony Orchestra), José Tripaldi in Ainadamar (New Zealand International Arts Festival) and has appeared in concert with the New Zealand Symphony Orchestra, the Auckland Philharmonia Orchestra and Orchestra Wellington.
background Born in New Zealand. Awarded the inaugural Inia Te Wiata scholarship. First professional role was Valentin in Faust with the NZ Opera Company (1971). Joined the Gelsenkirchen City Opera in Germany in 1976 and became a member of the esteemed Frankfurt City Opera (1980-1987). Has taught at the NZ Opera School in Whanganui. repertoire: Conte di Luna: Il trovatore (Frankfurt, Wellington); Rodrigo: Don Carlos (Gelsenkirchen, Copenhagen, Aachen); Renato: Ballo in maschera (Frankfurt, Gelsenkirchen, Wellington, Canterbury); Germont: La traviata (WNO, Vancouver, Wellington, Liceu Barcelona, Canterbury); Ford: Falstaff (Frankfurt, WNO); Rigoletto (Gelsenkirchen, Wellington, Düsseldorf); Sharpless: Madama Butterfly (Frankfurt, Taipei, Wellington, Canterbury, NZO); Ping: Turandot, Balstrode: Peter Grimes (Wellington); Marcello: La bohème (Frankfurt); Wolfram: Tannhäuser, Malatesta: Don Pasquale, Dandini: La cenerentola (Gelsenkirchen); Donner: Gunther: Der Ring Des Nibelungen (ROH, Frankfurt, WNO, Deutsche Oper Berlin, Adelaide); Dr Schön: Lulu, Mr. Redburn: Billy Budd, The Villains: Tales of Hoffmann, The Doctor: Wozzeck, Kolenatý: The Makropoulos Case (Opera Australia); Schigolch: Wozzeck (Opera Australia, Teatro Colón Buenos Aires); Alidoro: La cenerentola (Opera Australia, NZO); Faninal: Der Rosenkavalier (Opera Australia, NZ Festival, WNO); Harlekin: Ariadne auf Naxos, Speaker: The Magic Flute (Gelsenkirchen, Frankfurt); Musiklehrer: Ariadne auf Naxos (Barcelona, WNO); Don Alfonso: Così fan tutte (WNO, Victorian State Opera, Barcelona, Wellington, Canterbury); Forester: The Cunning Little Vixen (Gelsenkirchen, WNO); Escamillo: Carmen (Gelsenkirchen, Bielefeld).
background Born in Wellington. B.Mus (Victoria University), Master of Music and Professional Studies Certificate (Manhattan School of Music). Merola Opera Program. Awards include the Dame Malvina Major Foundation Award (2010), Joy in Singing Competition (2008), Lotte Lenya Competition (2007), Wellington Rotary Scholarship, Marie D’Albini Scholarship, Bell Gully Travel Award, Sir Henry Cooper Memorial Scholarship in Music, Grants from the Lankhuyzen/Whetu Kairangi Masonic Trust and the Kurt Weill Foundation. repertoire: Mark: Encounter by Mojiao Wang (Beijing Modern Music Festival); Thomas Kendall: This Other Eden (Arts Festival Dunedin); Aeneas: Dido and Aeneas (Opera on the Avalon, Newfoundland); Goro: Madama Butterfly (NZO); Tamino: Die Zauberflöte (Southern Opera); Jekyll & Hyde, Jean-Valjean: Les Miserables (Mac-Haydn Theater, NY); Bobby: Lillian Alling (The Banff Center); Marco Polo: Invisible Cities (Red Light New Music, NY); Albert Herring (Merola); Gastone: La traviata (Opera Omaha and Toledo Opera); Baker: Into the Woods, Sam: Street Scene (Manhattan School of Music). Concerts: Mahler’s Das Lied von der Erde (Argento Ensemble, NY); Kurt Weill’s Four Walt Whitman Songs (Mitteldeutscher Rundfunk Symphonie Orchester, Dessau and Leipzig); Britten’s Serenade for Tenor, Horn and Strings (New Brunswick Chamber Orchestra); Mahagonny Songspiel (Ravinia Festival); Kurt Weill’s Der Lindberghflug (Little Orchestra Society, NY); Recording: Exiled: The Evolution of Kurt Weill (2014).
Proudly supported by Friends of the Opera, Auckland.
cesare angelotti James Clayton a sacristan Barry Mora spoletta James Benjamin Rodgers
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CastBiographies
background Born in New Zealand. A 2007/2008 PwC Dame Malvina Major Young Artist, and an Emerging Artist and Circle100 Scholar in 2004. Won the New Zealand Aria and Napier Aria competitions in 2007 and was runner-up in the Lexus Song Quest the same year. A founding member of Opera Factory and has performed with all the major New Zealand orchestras. Studied at the National Opera Studio, London, attended the Solti/Te Kanawa Accademia di Bel Canto and the Verbier Festival Opera Studio. Principal Artist of Theater St Gallen, Switzerland 2010-2015. repertoire: Figaro: The Marriage of Figaro, Colline: La bohème, Marchese d’Obigny: La traviata, (NZO); bass role: Kurt Weill double bill (IFANZ/Opéra de Lyon); bass role: Pulcinella (Hessisches Staatstheater Wiesbaden); Comte des Grieux: Manon, Truffaldino: Ariadne auf Naxos, Il Pedone di Schnals: La Wally, Commendatore: Don Giovanni, Melisso: Alcina, Méphistophéles: La Damnation de Faust, Frank: Die Fledermaus, First Nazarene: Salome, Handwerkbursche: Wozzeck (St Gallen); Nachtwächter: Die Meistersinger von Nürnberg (Tiroler Festspiele, Erl); Zuniga: Carmen, Ferrando: Il trovatore, Speaker: The Magic Flute (Southern Opera); title role: Elijah, Truffaldino: Ariadne auf Naxos, Crespel/Luther/Coppélius: Les contes d’Hoffmann, Don Alfonso: Così fan tutte, Colas: Bastien und Bastienne, Comte des Grieux: Manon, Sarastro: The Magic Flute (Australian Opera Studio).
sciarrone Wade Kernot understudies
floria tosca Morag Atchisonbaron scarpia James Claytoncesare angelotti Wade Kernota sacristan Wade Kernot
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FreemasonsNZ OPERA Chorus
chorus director (a) John Rosser chorus director (w) Michael Vinten Amanda Barclay (w) Andrew Grenon (a) Anna Mahon (a)
Barbara Grahamå (w)
Chelsea Dolman* (a) Chris Berentson (w) Clarissa Dunn (w) Clinton Fung (a)
David Hwang (a)
Emma Roxburghå (a) Emma Slomanå (a) Fiona Li (a)
Giancarlo Lisi (w)
Bernice Austin (a) Brendon Mercer (w) Catherine Reaburn (a) Celia Falchi (w)
Charles Wilson (w)
David Wallace (a) Declan Cudd (w) Dragan Atanasov (a) Elisabeth Harris (w)
Ella Smith (a)Elizabeth Mandeno (a)
Glenn Meade (a) Graham Mandeno (a) Griffin Nichol Madill (w) Helen Kim (a)
Helene Holman (a) Ivan Blythe (a) Jarvis Dams* (a) Jess Segal (w) Jessica Duirs (a)
auckland (a)
wellington (w)
dame malvina major emerging artist *
freemasons resident artist å
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William McElwee (w)
John Bremford (w) Jonathan Eyers (a) Karyn Andreassend (w)
Kate Linehamå (w) Katherine McIndoe (w) Kayla Collingwood (a)
Marian Hawke (w)Luka Venter (w) Mark Rosser (a)
Mary Newman Pound (a) Matthew Landreth (w)
O’neal Mendoza (a) Orene Tiai (w) Patrick Coelho (w) Patrick Kelly (a)
Peter King (w)
Kerry Scurr (a) Lesley Graham (w)
Lewis Francis (a) Linden Loader (w)
Megan Corby (w) Milla Dickenså (a) Morag McDowellå (a)
Natalie Williams (w)
Rhys Hingston (a) Ross Noble (w) Rowena Simpson (w) Ruth Armishaw (w)
Samuel Park (a)
Jessica Wells (a) Jody Orgias (w)
Stuart Coats (w) Terry Barry (a) Thomas Drent (w) Wayne Morris (w)
Will Frost (a)
auckland boy’s chorus wellington boy’s chorus
Rico Ashmore
Cameron Brownsey
Quillan Denton
Jack Doyle
Adam Eastham
Elliott Fox
Rudressh Balamuralikrishna
Joshua Blackmore
James Broome-Isa
Benjamin Carter
Wilson Jack
Matthew Laidler
Xavier Francis
Sam Hodgson
Lukas Maher
Jesse Oh
Jacob Siohane-Royle
Gregory Williams
Ollie Markwell
Dew Nathan
Germain Quiros Pellegrin
Alexander Shekouh
Brendan Sullivan
Archie Taylor
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hornsNicola Baker**
Emma Richards*
Carl Wells# Simon Williams#
David Kay
trumpetsHuw Dann**
Norman McFarlane+
trombonesDouglas Cross**
Mark Close#
bass tromboneTimothy Sutton*
tuba Tak Chun Lai*
timpaniShane Currey
percussionEric Renick**
Jennifer Raven#
harpRebecca Harris*
guest musiciansLaura Pendergrast – Trumpet
composer-in-residenceKenneth Young
Orchestras
music directorEckehard Stier
first violinsAndrew Beer Concertmaster
Miranda Adams Assistant Concertmaster
Artur Grabczewski#
Mark Bennett Elzbieta GrabczewskaAinsley Murray Rachel MoodyTomislav NikolichAlexander ShapkinSatomi Suzuki Lucy Qi ZhangCaroline von Bismarck
second violinsDianna Cochrane**
Xin (James) Jin+
William Hanfling#
Rae Crossley-Croft°
Sarah HartJocelyn HealyCharmian KeayMilena ParobczyEwa SadagKatherine WalsheHanny Lee~
violasRobert Ashworth**
Christine Bowie+ Anne Draffin#
Helen BevinSharon BaylisPing Tong ChanGregory McGaritySusan Wedde
music directorPietari Inkinen
first violinsVesa-Matti Leppänen Concertmaster
Donald ArmstrongAssistant Concertmaster
Yuka EguchiAssociate Concertmaster
Yury Gezentsvey Principal
Emma Barron Ursula EvansMalavika GopalPam Jiang Haihong Liu Anne LoeserGregory Squire Rebecca StruthersAnna van der ZeeBeiyi XueKristina Zelinska
second violinsAndrew ThomsonSection Principal
David Gilling*
Janet Armstrong #
Simeon BroomSharyn Evans Elspeth Gray Andrew Kasza Dean Major Vanya Mateeva Simon Miller Megan Molina Elizabeth Patchett Lucien Rizos Katherine Rowe
violasJulia Joyce Section Principal
Brian Shillito *Peter Barber #Lisa BoyesMichael Cuncannon Anna Debnam Jenaro Garita Victoria JaeneckeLyndsay Mountfort Phillip RoseBelinda Veitch
** Section Principal° Section Leader Emeritus* Principal+ Associate Principal# Sub-Principal~ Manchester Fellow
~ Associate Principal* Sub-Principal# Assistant Sub-Principal1 Guest Player2 Guest Player (OW)
The NZSO String Sections operate under a rotation system.
Auckland Philharmonia Orchestra receives major funding from New Zealand Symphony Orchestra Principal Partners
Auckland Wellington
cellosEliah Sakakushev-von Bismarck** David Garner+
Liliya Arefyeva Katherine HebleyYou LeePaul Mitchell (OW)
bassesGordon Hill** Annabella Zilber+
Evgueny Lanchtchikov# Matthias ErdrichMichael Steer Eric Scholes~
flutesKathryn Moorhead+
Luca Manghi
piccoloJennifer Seddon-Mori*
oboesBede Hanley**
Camille Wells+
cor anglaisMartin Lee*
clarinetsGordon Richards**
Bridget Miles (Bass Clarinet)+
James Fry (Eb Clarinet)+
bassoonsIngrid Hagan**
Yang Rachel Guan Ebbett+
contrabassoonRuth Brinkman*
cellosAndrew Joyce Section Principal
Ken Ichinose~
David Chickering#
Brigid O’MeeghanAssistant Sub-Principal Emeritus
Roger Brown Eleanor Carter Robert Ibell Sally IsaacAnnemarie MeijersRowan Prior
bassesJoan Perarnau GarrigaSection Principal (Acting)
Nicholas Sandle Assistant Sub-Principal Emeritus
Matthew CaveStephen Gibbs Alexander Gunchenko Malcolm StruthersSteve Taylor
flutesBridget DouglasSection Principal
Kirstin Eade~
Hannah Darroch1
piccoloKaren Batten1
oboesRobert Orr Section Principal
Peter Dykes~
cor anglaisMichael Austin Principal
clarinetsPatrick Barry Section Principal
bass clarinetRachel Vernon Principal
bassoonRobert Weeks Section Principal
Penny Miles2
contrabassoonDavid Angus Principal
hornsHeath Parkinson1
Section Principal
Gregory Hill Principal
David Moonan*
Heather Thompson*
Tim Anderson*1
trumpetsMichael KirganSection Principal
Cheryl Hollinger~
Mark Carter*
Tom Moyer*
trombonesDavid Bremner Section Principal
Matthew Allison~
Mark Davey1
bass tromboneShannon PittawayPrincipal
tubaAndrew Jarvis Principal
timpaniLaurence Reese Section Principal
Thomas Guldborg
percussionLeonard Sakofsky Section Principal
Thomas Guldborg~
Bruce McKinnon Section Principal Emeritus
harpCarolyn Mills Section Principal
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2015 season P.27
New Zealand Opera
general director Stuart Maunderexecutive director Jane Clarkedirector of music Wyn Davieshead of artistic administration Jude Froudeartistic assistant Jessica Duirs+
company manager Jonathan Hodgechorus manager Glenn Meadeprincipal répétiteur & vocal coach Bruce Greenfield>>
chorus director (a) & associate conductor John Rosser>> chorus director (w) & associate conductor Michael Vinten>>
chorus director (c) Sharolyn Kimmorley>> head of development Caroline Nelsonwellington development manager Alexandra Granvillebenefaction co-ordinator Donald Trott>> head of marketing & communications Charlotte Rosiermarketing executive Rowena Donghipublicity & media relations Michael Hooper>>, Chris Swannell>>
box office manager Julie Birddatabase & development co-ordinator Will Frosthead of education Joanne Coleeducation & development co-ordinator Anna Hoetjeshead of finance & administration Lee Frew+
accounts assistant Maggie Lioffice administrator & box office assistant Beata Nannestadtechnical manager Steve Crowcrofttechnical assistant Hemi Wipiti>>
production workshop manager Jan Ubels>> head of wardrobe Elizabeth Whiting>>
patronsgovernor-general Lt Gen Rt Hon Sir Jerry Mateparae GNZM, QSO
The Hon Dame Catherine Tizard ONZ
mayor of auckland Len Brownmayor of christchurch Lianne Dalzielmayor of wellington Celia Wade-Brown
new zealand opera ltd board of directorsJohn Harvey (Chair), Chanelle Farmer, Donald Trott ONZM, JP., Jenni Norton, Kate Burtt, Philip King, Tim Brown, Therese Arseneau, Suzanne Snively ONZM
friends of the operaauckland
Helen Gaeta (President), Jo Stone (Secretary), Leila Alexander and Yvonne Lipski (Young Friends Coordinators), Linda Braden, Ann Brandon, Alison Buchanan, Sue Elliott, Eric Johnston, Donald Trott, Brian Young.wellington
Samuel Williamson (President), Vivienne Gillespie (Vice-President), Rosalie Thurston (Treasurer), Amy Duxfield (Young Friends Coordinator), Sally Abernethy, Judith Day, Diane Hadley, Patricia Hurley, Elaine Moffat QSO JP, Alison O’Brien, Elizabeth Simcock, Robyn Vavasour, Gael Webster, Felicity Wong.christchurch
Lynne Havenaar, Caroline Jefferd, Jane Morris, Pat Pilkington, Jan Wood, Judith Young.
nz opera internsdame malvina major young artist 2015
Amelia Berrydame malvina major emerging artists 2014/2015
Jarvis Dams, Chelsea Dolman, Filipe Manu, Emily Scott, Christian Thurstonfreemasons resident artists 2015
Amanda Atlaså, Milla Dickenså, Wendy Doyle, Barbara Grahamå, Derek Hillå, Kate Linehamå, Morag McDowellå, Sarah-Jane Rennieå, Emma Roxburghå, Emma Sloman, Robert Tuckerå.
new zealand operaauckland
Level 3, 100 Mayoral Drive,PO Box 6478, Wellesley Street, Auckland 114109 379 4020 or 0800 NZOPERA (696 737)Opera Technical Centre, 107 Neilson Street, Onehunga, Auckland 1061. (09) 634 2108wellington
Freemason House, 195—201 Willis Street,PO Box 6588, Marion Square, Wellington 6141. (04) 384 4434christchurch
PO Box 36579, Merivale, Christchurch 8146. 0800 696 737online [email protected], www.nzopera.com
theatre acknowledgementsAuckland LiveAotea Centre, 50 Mayoral Drive, Auckland. (09) 357 3355www.aucklandlive.co.nzdirector Robbie Macraehead of marketing & ticketing Penn Trevellahead of technical operations Kerry Griffiths
St James Theatre77—87 Courtenay Place, Wellington. (04) 801 4231The St James Theatre is managed by Positively Wellington Venueswww.pwv.co.nzchief executive Glenys Coughlandirector performances & exhibitions Helen Glengarrydirector conventions & events Jo Darbydirector facilities & operations management Craig Woolliamspeople & performance manager Aileen Donnan
auckland (A)
wellington (W)
christchurch (C)
part-time +
contractor >>
freemasons opera scholar å
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Benefactors
Inner Circle
Elizabeth Ball Charitable Trust#
Friedlander Foundation* – proudly supporting Wyn Davies, Director of Music
Aria Circle
Trevor & Jan Farmer*Dame Jenny Gibbs, DNZM*John & Margaret Hunn*The Kiri Te Kanawa FoundationThe Mahar Charitable Trust#
The Opera Foundation#
Mr Gary & Mrs Dot PaykelProf Jack C RichardsThe Robert & Barbara Stewart
Charitable Trust#
Gabrielle TasmanThe Wallace Foundation*
Diamond
Denis & Verna Adam*Sir Roderick & Lady Gillian Deane*Alfons & Susie des Tombe*Bill & Olive Falconer*Sir David Gascoigne KNZM,CBE
& Dame Patsy Reddy DNZM*Beverley McConnell QSM*Chris & Dayle Mace*William and Lois Manchester
Charitable TrustDame Adrienne Stewart#
Aquamarine
1 AnonymousSally & Euan AbernethyThe David & Genevieve Becroft
FoundationRichard & Kate Burtt#
Chanelle & Dean FarmerJohn & Sue HarveyThe Hon. Dame Judith Potter*Geoff & Carol ReedMargaret TrotterNoel & Kerrin Vautier*Peter Wilson, ONZM
& Gerda McGechan*
Emerald
1 AnonymousPaul & Sheryl BainesRos & Philip BurdonRosslyn CaugheyJanet Clarke & John JudgeAlison & Victor DiemPeter & Carolyn DiesslSusan Doig#
Cathy Ferguson & Mike During*Helen GaetaBeverly Gentles*Michael & Creena GibbonsGilbert & Patricia Glausiuss#
Dr John GrigorDame Rosie &
Mr Michael Horton*Dr Tom & Mrs Ann Morris*Rob & Jacquie Nicoll*Geoff & Fran Ricketts*Peter & Kay Squires#
Lady Tait*Prof A & Mrs R Thurston*Mr Noel & Mrs Joanna Todd*
Amethyst
1 AnonymousBrian & Jennifer BarracloughGarry F Bell*Ruvae Britten#
Christina & David Clee*John & Margaret Cullen*Diana Duff-StanilandGrabs TrustSandra Greenfield*Mark & Gillian HortonAthol & Ngaire Mann*John & Anne Roche*Dr Sylvia RosevearAndrew & Jenny SmithJohn R & Gilli Sutton*Westlake Governance
Pearl
Gary & Julie CraigFraser & Barbara FinlaysonHelen Goodwin*Mr Jack GreenfieldPeter & Joan Hanson*John & Gillian Harman*Ross & Julie Hutton#
David & Janet MayesMartyn & Shona Spencer#
Topaz
3 AnonymousDr M & V AbernethyElizabeth Ashford#
Jane & Sid Ashton#
Celia Barker#
Bill & Frances BellRichard Braae & Andrea GrayAnn BrandonJe Lan BrashVirginia BreenDame Silvia & Peter CartwrightChris Christensen*Beverley Cocks#
Alison CookDorothy CoupDr Raewyn DalzielEmery Family#
Cushla R FisherJ & P FitzpatrickMr Brian & Mrs Vivienne GillespieRoger & Jennifer Hamlin*D R Harlen
Topaz Continued…
Prof. Les & the Late Dr PatriciaHolborow*
Philip KingDavid & Roberta Lewis#
Kaye LillicoRobert & Jenny Loosley*Vivien & Don McGilvrayElizabeth McLeayAlison MannStuart MaunderJohn Meads &
Anne Marie Moorhead*Dr Cary Mellow*Arend MerriePatricia Morrison,QSM
Alison MortonHeidi MullerSue Naylor*Irene NorbisPeter & Alison O’BrienFay PankhurstMs Heather PascualCarolyn PenneyBarbara & Peter Raudkivi*Kenneth L Richardson CVO, QSO
Glenn RushHeather SimpsonDr Alastair & Mrs Susan Stokes#
Sir Edmund Thomas & Lady ThomasSheelagh Thompson#
S L ThompsonDame Catherine Tizard, ONZ
John & Patricia Tonkin*Josephine & John UllrichBelinda Vernon & Peter Pritchard*Westforce Credit UnionR & A WilliamsLeona Wilson*Felicity Wong & Paul Ridley-Smith
Sapphire
4 AnonymousJane Aim*Therese ArseneauLeslie AustinGraham & Annie Beattie*d’Lainee free Noonan-BrownMelvine EastonGerrard & Marti Friedlander*Dr & Mrs Stephen Gilbert*Mr Timothy Hawley*Robert Johnston &
Stella McDonald*Thérèse KellyDr & Mrs J R D MatthewsRaymond & Barbara MatthewsChris & John McGrathChristine & Paul McLaren*Jim & Eve McMahonDr Kate O’ConnorDenver & Prue Olde*Tim & Lorraine OlphertJohn & Anne Priestley*Margaret Revell*Gordon StewartRichard & Clare TooveyDonald Trott*Grant & Lynda Walter*
Opal
2 AnonymousJocelyn Afford & Stephen KosJeff & Di AnnanAlyson AtchisonDavid & Jenny BalfourIan & Marilyn BarlowErnie & Anne BateGeoffrey BeadelDavid Binning & Rachel McCahon*Patricia BollardTom & Juliet BroadmoreJ E Brown*Alison Buchanan, Eric JohnstonBuilding Solutions LtdClare Castle*Jane Clarke & David SkarrattsDr Ivan Connell &
Ms Margaret CaseyDon & Jill CottleMarie & Michael CrookeGraham & Jan Davy*Lizzie de Lambert#
Laurie & Sue Doolan*Sue Emmott & Michael BowmanDavid Flacks & Adina Halpern*
Opal Continued…
The L & J Fowler Family TrustMurray & Bev Gow*Eric & Raemon Greenwood#
Jackie & Graham GuthrieKerry HeathJenny Harper#
Antonia Hill#
Robin Hill & Vicki Allpress-HillDon & Janine HunnNiels Jonker & Simon RobbMelville KillipLinda Kitchen & Aidan LangFrancey LewisCaroline & Gerald McGhieAlison & Ken McKenzieBruce & Sandi McLean*Ann MallinsonCoral Mazlin-HillA & R MercerNeil & Ruth MiddletonDon & Deirdre MilneDr Stella MilsomRobert & Lynne MortonRoger & Barbara Moses*Louise & Graham MountfortMatthew Muir & James Peters*Denise & Robert Murfitt#
Robert & Freda Narev*Richard & Joan Neild*Simon O’ConnorKathryn OsbornePatricia’s Opera Tours – Patricia HurleyRosalind Reece & Vivian FraserBrian Rooney &
Geraldine WishartDavid & Dian Ross*Ron & Margaret Saunders Trust*Suzanne Snively ONZM &
Ian Fraser OBE
Peter & Margaret SnowAdrienne & Don StaplesJohn & Vanessa Stephens*Brian & Pam Stevenson*Kate Stutter & Tim Harding#
Tanglin Consultancy LtdDr Prue Tobin#
Jeff & Glenys ToddBev and Gus Van de Roer*Debbie & Mike WhaleWildfire*Anthony Wright &
Selene Manning#
Nicola Young*David & the late Helen Zwartz
Ruby
7 AnonymousOdette Alleyne & Alan EvansBrent Anderson &
Rae MazengarbHon Margaret Austin#
Mr Donald Barron*Lisa Bates & Douglas HawkinsMrs Ann BattenEric & Pamela BloomfieldKarilyn & Mark Brown*Mr John CahillChristina & Barry CairnsColin & Judith Calcinai*Michael Chappory*Maurice Chatfield*Mrs Lorraine ClarkBarbara ConnellMr Stuart Cook*Annette Cooke*Fred Davey*Judith DayM DoucasJohn DowAndy Dowgray#
Mrs Diana Eady*Annie Edmond#
Elaine EngmanEric EspinerRona FairweatherLance FeldwickeIan & Jocelyn FraserJohn & Nora GabrielDavid & Suzanne GibbsDrs D R & D GreenwoodRosemary & Arthur HancockFrances HollisDr Rosi Horrocks*Mr Maurice & Mrs Judith Hunt*Jared & Susan JacksonMax Kerr & Jenny RobertsonRosemary LanghamDr T Lau*Peter LedinghamAnnette Lendrum*David LewisMr M & Mrs J LinesJacqueline & Patricia McClewHamish McCrostie#
Dougal & Diana McIntoshIan & Jenny McKinnonAnne McLeanJohn & Sue MaaslandMs Cynthia Magner#
M A Malaghan*Robert & Mrs Lesley Max*Margot Minett
Ruby Continued…
Seala Kathleen MisaBarry & Di MoraDavid & Jane Morrison-Jones*Lady MowbrayMaryanne & Alan MummeryOpera Factory TrustMary O’Rorke#
Dr Gary Orr & James SergeantGordon & Elizabeth Orr
for Jean PaulinSue Pearl & Barbara Insull*Petanth Partners*Richard Peterson Charitable TrustPat Pilkington#
Jenny PinneyRachel & Neil PlimmerErnest Poole#
Ian & Rosemary PringleMrs P Reid*Catherine RenoufGwyn RogersAdam RossJudy SalmondAilsa SaltJay ScanlonJacqueline Scorgie*Shayle & Sally SlomanMike SmithTrevor & Ritva SmithDr M Sowter & Dr A PereiraMr Michael StewartBrian & Bea Stokes#
Robert & Diane StrevensElaine SuttonCarolyn Tapley#
David & Andrea ThomsonJim & Julia Traue*Blair & Judith TreadwellMs Edith Tripp#
Laurence WallsPaula WarrenLinda & Warwick Webb#
Glenda WestStuart WestonKees & Lindsay Weststrate*Graeme & Lynley WhiteMandy Jacqueline WongHelen YoungS Young & S Turner
founding member*
christchurch founding member#
Our Partners
New Zealand Opera would like to thank the following organisations for their generosity and support.
principal funding partner
local government partners
platinum partners
silver partners
gold partners
bronze partners
corporate associates
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