The Trusts Community Foundation IN CONCERT

VERDI’S 7.30pm, Friday 29 July 2016 Auckland Town Hall KARMA COLA The award-winning packaging design now available world-wide.

A little while ago, Special Group designed the distinctive 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, Founder [email protected]

specialgroup.com KARMA COLA The award-winning packaging design now available world-wide. CONTENTS

Welcome 2 Auckland Philharmonia Orchestra 2016 4 About Auckland Philharmonia Orchestra 11 Auckland Philharmonia Orchestra Funding and Support 13 Otello 14 Acknowledgements 29

A little while ago, Special Group designed the distinctive 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, Founder [email protected] specialgroup.com Verdi’s Otello 2016 1 WELCOME

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 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 hat kind of story could entice Verdi to round out a superb cast, ably supported Wemerge from a comfortable retirement by the brilliant Freemason’s New Zealand and take on another opera? Shakespeare’s Opera Chorus, and of course, the APO. tale had all the ingredients for a compelling Otello is one of Italian opera’s greatest opera – jealousy, greed, torment, and the tragedies, unrivalled in its compelling drama. most depraved villain in the Bard’s roster; it We are able to bring you this wonderful was all too irresistible for Verdi. The result opera thanks to the continued support of the is unquestionably the highpoint of Italian Trusts Community Foundation, our funder for musical drama in the late 19th century – not tonight’s Opera in Concert. I would also like only because of the astounding brilliance of to acknowledge and thank our colleagues the opera itself but also in the challenges at New Zealand Opera for supporting of marshalling the instrumental and vocal tonight’s concert, and thanks also to the forces to carry the quicksilver score. small but growing group of donors who And we’ve assembled just the cast for the support this specific project so we can bring duty. I’m pleased to welcome APO’s Music you a first-class experience. Director Giordano Bellincampi to conduct this 400 years since the death of Shakespeare, concert. Giordano is a seasoned conductor the great storyteller remains as influential of Italian opera, and Otello marks his operatic as ever. We are proud to present Otello to debut with the APO. The role of Otello himself you, our audience, and hope that you enjoy is one of the most vocally and emotionally tonight’s performance. demanding roles in all opera, and in Kiwi tenor Simon O’Neill we have secured an Barbara Glaser outstanding Otello, who brings his experience Chief Executive of performing the role on some of the great Auckland Philharmonia Orchestra 2 apo.co.nz 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 he Trusts Community Foundation APO 4 Kids Christmas, an annual concert (TTCF) is delighted to be the naming T for young children in West Auckland. rights funder of Opera in Concert, the cornerstone of the Auckland Philharmonia TTCF’s support also helps to ensure that Orchestra’s annual programme. the APO can attract and retain musicians of the highest calibre, which is why we TTCF’s partnership with the APO was are also proud of our commitment to a established in 1998, a relationship that violist’s chair held by Greg McGarity and a continues to grow and develop. We trombonist’s chair held by Mark Close. increasingly value the role that the APO plays. It delivers not only world-class main We very much hope that you will enjoy stage concerts but also APO Connecting, tonight’s operatic masterpiece, Verdi’s an extensive community and education Otello, performed by wonderful guest artists programme for toddlers to aspiring and Auckland’s own world-class orchestra professional musicians, a programme also conducted by Music Director, Maestro supported by TTCF. Giordano Bellincampi. TTCF is proud to have West Auckland’s Ross Clow Portage and Waitakere Trusts as foundation Chairman members and it is the Portage trustees’ The Trusts Community Foundation consistent recommendations that ensure TTCF’s ongoing support of APO’s Opera in Concert is an easy decision.

Verdi’s Otello 2016 3 AUCKLAND PHILHARMONIA ORCHESTRA 2016

Music Director Concertmaster Guest Associate Giordano Bellincampi Andrew Beer Concertmaster Liuyi Retallick Chair Donor Chair Donor Dame Jenny Gibbs

Assistant Concertmaster Miranda Adams Chair Donor The David & Genevieve Becroft Foundation

First Violins Artur Grabczewski # Mark Bennett Elzbieta Grabczewska Chair Donor Chair Donor Chair Donor Warren & Sandra Rua & Clarrie Stevens Gregory & Vlasta Cant Charitable Trust Shanahan

Ainsley Murray Alexander Shapkin Satomi Suzuki Chair Donor Chair Donor David & Dian Ross Denver & Prue Olde

4 apo.co.nz First Violins Lucy Qi Zhang Caroline von Yuri Cho Bismarck Chair Donor Supported by Martin Sowter & Chair Donor Audrey Hay Alison Pereira Barry & Trish Clapham

Charmian Keay Jiwon Lee

Second Violins Dianna Cochrane ß Xin (James) Jin + William Hanfling # Chair Donor Chair Donor Chair Donor Robert & David Lovell Lynne Morton

Rae Crossley-Croft = Sarah Hart Jocelyn Healy Chair Donor Chair Donor Chair Donor Anonymous Mike & Debbie Whale Dame Rosanne Meo

Rachel Moody Milena Parobczy Ewa Sadag Chair Donor Chair Donor Chair Donor Alex Baker Murray & Jill Lander Brian & Pam Stevenson

Katherine Walshe Chair Donor Mark & Amber Gatward

Violas Robert Ashworth ß David Samuel + Christine Bowie # Chair Donor Chair Donor Chair Donor Peter Wilson & Anonymous Ralph & Penny Gerda McGechan Roberts

Verdi’s Otello 2016 5 Violas Anne Draffin # Helen Bevin Ping Tong Chan Chair Donor Chair Donor Leigh & Jennie Auton

Gregory McGarity Susan Wedde Alexander Chair Donor Chair Donor McFarlane ~

Cellos Eliah Sakakushev- David Garner + Liliya Arefyeva von Bismarck ß Chair Donor Chair Donor Chair Donor Haydn Staples & Richard Frechtling & Peter Pritchard & Lynley Stewart Carole McIntosh Belinda Vernon

Katherine Hebley You Lee James sang-oh Yoo Chair Donor Chair Donor Chair Donor Penelope Weber Barbara Glaser & Stephen Lloyd Richard Panting

Jacky Siu ~

Basses Gordon Hill ß Annabella Zilber + Evgueny Chair Donor Chair Donor Lanchtchikov # Dr Tom & Ann Morris Paul & Alison Dyson Chair Donor Stephen & Laura Dee

Matthias Erdrich Alanna Jones Michael Steer Chair Donor Chair Donor Sylvia Rosevear Julian Smith & Craig McAlpine

6 apo.co.nz Flutes Emma Gerstein ß Kathryn Moorhead + Chair Donor Chair Donor Charline Hamilton Karen Kennedy Baker

Piccolo Jennifer Seddon- Mori * Chair Donor Richard & Lois Hadfield

Oboes Bede Hanley ß Camille Wells + Chair Donor Chair Donor Richard & Janet Smith Elizabeth Ebbett

Cor Anglais Martin Lee *

Clarinets Signe Sõmer ß Bridget Miles + James Fry + Bass Clarinet* Eb Clarinet* Chair Donor Tony & Deirdre Chair Donor Chair Donor Anselmi Family Trust Stephen & Michael & Dame Gail Hofmann Rosie Horton

Bassoons Ingrid Hagan ß Yang Rachel Guan Ebbett + Chair Donor Gary & Dot Paykel Chair Donor Dame Adrienne Stewart

Verdi’s Otello 2016 7 Contrabassoon Ruth Brinkman *

Horns Nicola Baker ß Emma Eden * Carl Wells # Chair Donor Chair Donor Chair Donor Charles & Kevin Martin Tana Fishman

Simon Williams # David Kay Chair Donor Chair Donor Anna Nathan

Trumpets Huw Dann ß Jonah Levy + Norman McFarlane + Chair Donor Chair Donor Neil & Jane Haines Robert & Louise Clark

Trombones Douglas Cross ß Mark Close # Chair Donor Chair Donor Adrian Burr

Bass Trombone Timothy Sutton * Chair Donor John Griffiths

8 apo.co.nz Tuba Tak Chun Lai *

Percussion Eric Renick ß Jennifer Raven # Shane Currey Chair Donor Chair Donor Geraint A. Martin Penelope Peebles & Sam Cliffe & James Sutherland

Harp Rebecca Harris * Chair Donor Signs Around Town Ltd

Timpani Vacancy Chair Donor Andrew and Jenny Smith

Guest Musicians Violin Bassoon Timpani Mandolin Naomi Lee Preman Tilson Ben Fullbrook Dave Kahn Cello Trumpet Percussion Organ Paul van Houtte Stephen Bemelman Rebecca Celebuski David Kelly Jeremy Fitzsimons

Banda Répétiteur and Vocal Coach Mark Bremner Namleen Kaur Mallah David Kelly Matthew Verrill Laura Pendergrast Assisted by Rosemary Barnes Nick Hall Nicholas Allan

Composer-in-Residence Karlo Margetić

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

Verdi’s Otello 2016 9 Leave your mark in the music

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 Ruskin Spear (1911-1990) Rehearsal difference. So once you have Private Collection / Courtesy of Manya Igel Fine Arts, London / Bridgeman Images made provision for your loved ones, © Estate of the artist please consider leaving a gift in For more information visit the APO website your will so the APO can thrive www.apo.co.nz/gifts-in-wills or call the in years to come. APO Development team on 09 623 5628

Charitable trust No. CC23607 AUCKLAND PHILHARMONIA ORCHESTRA

uckland Philharmonia Orchestra is New Zealand national treasures the ANew Zealand’s full-time professional Topp Twins, as well as presenting the Metropolitan orchestra, serving the Australasian premiere of Final Symphony, Leave country’s largest and most vibrant city with a concert of music from the Final Fantasy a comprehensive programme of concerts series of video games. and education and outreach activities. your mark in Through its numerous APO Connecting In more than 50 mainstage performances (education, outreach and community) the music annually, the APO presents a full season of initiatives the APO offers opportunities symphonic work showcasing many of the to more than 20,000 young people world’s finest classical musicians. Recent and adults nationwide to participate in You can help shape the future of high-profile soloists include violinists music, ranging from hip-hop and rock to the APO by leaving a gift in your Isabelle Faust and Sarah Chang, pianists contemporary and classical. Kathryn Stott and Jean-Efflam Bavouzet, will to the Auckland Philharmonia 100,000 people hear the orchestra live clarinettist Julian Bliss and trumpeter James Foundation. each year, with many thousands more Morrison. Leading international artists in reached through special events, recordings The Foundation is growing its 2016 include Vladimir Ashkenazy, violinists and other media. endowment fund to help secure Ning Feng and Noah Bendix-Balgley, pianist Cédric Tiberghien and cellists Li-Wei Qin the orchestra’s future and to and Julian Steckel. We are also delighted to support specific needs, such as welcome back conductors Stephen Layton scholarships for musicians. and Christopher Seaman, among others, to complement the presence of new Music Leaving a gift is one of Director Giordano Bellincampi. the most potent and The APO is also proud to support both New Zealand Opera and the Royal New Zealand enduring ways you can Ballet in their Auckland performances, help Auckland’s orchestra. as well as working in partnership with Auckland Arts Festival and Michael Hill Every gift, big or small, makes a International Violin Competition. Ruskin Spear (1911-1990) Rehearsal difference. So once you have Private Collection / Courtesy of Renowned for its innovation, passion and Manya Igel Fine Arts, London / Bridgeman Images made provision for your loved ones, © Estate of the artist versatility, the APO collaborates with some please consider leaving a gift in of New Zealand’s most inventive artists, For more information visit the APO website and in 2016 the APO performs with your will so the APO can thrive www.apo.co.nz/gifts-in-wills or call the in years to come. APO Development team on 09 623 5628 Verdi’s Otello 2016 11 Charitable trust No. CC23607 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 Council Four Winds Foundation The Saint Kentigern Trust Board Creative New Zealand Freemasons Foundation and The Douglas Goodfellow Auckland Live Hilton Charitable Trust Auckland Philharmonia Foundation JX Live Stout Trust Bayleys Real Estate Malcolm Pacific Immigration The Trusts Community Foundation Chapman Tripp Potter Masonic Trust Trillian Trust Chisholm Whitney Family The New Zealand Herald Villa Maria Charitable Trust Newstalk ZB The Wallace Foundation Dawsons Ogilvy & Mather William & Lois Manchester Trust Deloitte Pub Charity Graeme & Victoria Revell Foundation North Audrey Hay

Auckland Philharmonia Orchestra Phone (09) 638 6266 Website apo.co.nz Auckland Town Hall Fax (09) 623 5629 Facebook facebook.com/aporchestra 301-303 Queen Street Ticket Office (09) 623 1052 Twitter @aporchestra Auckland 1010 Email [email protected] Instagram @aporchestra PO Box 7083, Wellesley St Auckland 1141

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

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

Verdi’s Otello 2016 13 OTELLO (1813 -1901) Libretto by Arrigo Boito (1842-1918), after the play by (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 BELLINCAMPI CONDUCTOR n 2016 Giordano Bellincampi took up Ithe 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 and moving to at a young age, he began his career as a trombonist with the 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 In August 2015 Giordano Bellincampi National Opera from 2005-2013, Music conducted a strongly-acclaimed Director of the Copenhagen Philharmonic performance leading the Duisburg Orchestra from 2000-2006, and between Philharmonic at Amsterdam’s legendary 1997-2000 he was also Chief Conductor Concertgebouw Hall and highlights of of the Athelas Sinfonietta Copenhagen, the his 15/16 calendar include performances leading contemporary ensemble in Denmark. with the Tasmanian Symphony as well as With an enormous repertoire embracing further engagements with the Duisburg classical, romantic and contemporary Philharmonic throughout the season, music, he is particularly celebrated for his featuring major works including Bruckner’s prowess in the Central European, Italian Fourth and Mahler’s Third symphonies. and Scandinavian symphonic traditions, and Maestro Bellincampi’s extensive discography for his interpretations of significant choral includes recordings for the Da Capo and and vocal works. Marco Polo labels of Danish composers He has also excelled in the field of opera from the classical era through to the present since making his debut with the Royal day, as well as Italian opera arias with Opera in Copenhagen with La Bohème Liping Zhang and the Prague Philharmonia, in 2000. He has conducted many of the Nielsen’s Third Symphony for EMI Classics, great Italian works at and works by Svendsen and Walton. with particular focus on Puccini and As Associate Professor at the Royal Verdi. Whilst Music Director of the Danish Danish Academy Giordano Bellincampi is National Opera, Bellincampi conducted dedicated to educating coming generations works such as , The of conductors, and he also regularly gives Flying Dutchman, , Don masterclasses and serves as a jury member Giovanni and The Magic Flute. for international conducting competitions.

Verdi’s Otello 2016 15 , Milan, Berlin 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 (, Washington in concert and Houston), Otello and Max in Der Freischütz (LSO with Colin Davis), Gurrelieder (BBC Proms), Mao in Nixon in China ( 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, SIMON O’NEILL and with the London Symphony Orchestra TENOR under Rattle, Mahler Symphony No.8 in Tokyo, Florestan in Fidelio with Pappano OTELLO conducting the Accademia di Santa Cecilia, Die Walküre with Barenboim at ew Zealand tenor Simon O’Neill is the Berlin Staatsoper and with the Berlin one of the finest helden-tenors on the N Philharmonic under Rattle, and Gurrelieder international stage. He is a principal artist with Runnicles. He returns to Houston with the , the Royal for Götterdämmerung, and Opera House, Covent Garden, Teatro Tannhäuser with Patrick Summers. alla Scala and the Bayreuth and Salzburg Festivals, appearing with conductors including James Levine, , Valery Gergiev, Antonio Pappano, Daniel Barenboim, Pietari Inkinen, Pierre Boulez, Sir , Sir Colin Davis, Daniele Gatti, Edo de Waart, Fabio Luisi, Donald Runnicles, Thomas Hengelbrock and . 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 Simon O’Neill’s performance is supported Opera, New York, Hamburg State Opera, by Dame Jenny Gibbs DNZM

16 apo.co.nz MARIA LUIGIA BORSI SOPRANO DESDEMONA ailed by critics worldwide for her vocal Hdynamism and interpretive prowess, Italian 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 singing as Violetta in , under Lorin Maazel. Ms Borsi has performed at the Salzburg Festival, Zurich Opernhaus, Berlin Philharmonie, Deutsche Oper Berlin, with (Helicon), a live DVD Liceu of Barcelona, Royal Danish Opera, of Beethoven's Symphony No.9 with New National Theatre Tokyo, Arena di Lorin Maazel (Kultur), Puccini's Turandot , Cincinnati Opera, Les Chorégies (Fenice), Bizet's Carmen with Franco d’Orange, Novaya Opera, and with Zeffirelli, Peter von Winter's Maometto II the London Philharmonic Orchestra, (Marco Polo) and her first solo album Vienna Philharmonic, Israel Philharmonic ‘Italian Soprano Arias’ with the London Orchestra, London Symphony Orchestra, Symphony Orchestra (Naxos). Scottish Chamber Orchestra, Rotterdam Philharmonic, Tokyo Philharmonic, Münchner Born in Sora, Italy, she studied with Philharmoniker and the Seoul Philharmonic. , Lucia Stanescu, Claudio Desderi, and . 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, in Cincinnati, Otello in Oviedo, La Rondine in Lucca, Modena, Pisa, Ravenna and Verdi’s Messa da in .

Maria Luigia Borsi’s discography includes Maria Luigia Borsi’s performance is a live recording of Mozart's Don Giovanni supported by Elizabeth and Richard Ebbett

Verdi’s Otello 2016 17 SCOTT HENDRICKS BARITONE IAGO exan Scott Hendricks has emerged as Tone 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 of Verdi, Puccini and Wagner. Engagements in the 2014-15 season included his role debut as Renato at , as well as performances as Jack Rance in La Fanciulla (); critically del West (Opernhaus Zürich), Conte di acclaimed performances of Roderick in Luna in (Mikhailovsky Theatre, The Fall of the House of Usher and Carlo St Petersburg), Sharpless in Madama Gérard in Andrea Chénier (both Bregenzer Butterfly (Houston Grand Opera), and the Festspiele); and an internationally critically title role of (Netherlands Opera). acclaimed portrayal of the title role in the Other recent engagements include Mr world première of Giorgio Battistelli's Hendricks’ Metropolitan Opera debut as Richard III with De Vlaamse Opera, under Sharpless in Madama Butterfly; his Royal the direction of Robert Carsen. Opera House debut as Scarpia in ; Engagements this season include the Amonasro in (Houston Grand Opera); title role of Eugene Onegin (Houston Germont in La traviata (La Monnaie, in a Grand Opera), Amonasro in Aida (Oper new production by Andrea Breth); role Köln), and role debuts as Hamlet III in Die debuts as Michele in Il tabarro and Gianni Hamletmaschine (Zurich Opera) and Victor Schicchi in a new production of Puccini’s Frankenstein in the world premiere Il trittico (Oper Köln); Forester in The of Frankenstein at La Monnaie, Brussels. Cunning Little Vixen (Opéra National du Rhin); the title role of 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 Scott Hendricks’ performance is supported in Salome (La Monnaie, Brussels); by and in memory of Lesley French, who Amonasro in Aida and Iago in Otello loved music and opera

18 apo.co.nz 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 JAMES EGGLESTONE with the Adelaide, Melbourne, Queensland, TENOR West Australian and Canberra Symphony Orchestras, Auckland Philharmonia CASSIO Orchestra, Sydney Philharmonia Choirs and the Twilite Orchestra, Jakarta. ual Helpmann Award-winning James DEgglestone is one of Australia’s finest In 2012, James Egglestone sang Pinkerton young tenors. He is a graduate of both the in Madama Butterfly and Lysander in A Victorian College of the Arts and the Melba Midsummer Night’s Dream for Opera Conservatorium of Music and a recipient Australia, Rodolfo for State Opera of South of the 2004 Johnston Bequest and the Australia and the tenor solos in Beethoven’s 2004 Belcanto Scholarship – these awards Symphony No.9 for the Sydney Symphony enabled James to study in Italy and The under Vladimir Ashkenazy. 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- James Egglestone’s performance is man opera Tell Tale Heart. supported by The Wallace Foundation

Verdi’s Otello 2016 19 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, International Festival, Opera SARAH CASTLE Queensland, Welsh National Opera and MEZZO-SOPRANO Israeli Opera. Notable concerts include Mendelssohn’s EMILIA Paulus with La Chapelle Royale under the arah Castle was born in New Zealand direction of Philippe Herreweghe, Elijah Sand studied at the Royal Northern with the Singapore Symphony Orchestra, College of Music. She made her debut and for the LPO conducted by Kurt Masur, for the , Covent Mahler's Symphony No.3 with Gustavo Garden as Tisbe in La cenerentola and Dudamel in Caracas, Spaces of Blank has subsequently appeared there for by Michel van der Aa in Amsterdam, and Ariadne auf Naxos, Salome, Adriana Mark Anthony Turnage's Twice Through the Lecouvreur, Die Walküre, Das Rheingold Heart with Psappha. Her BBC Proms debut and Götterdämmerung. Recent highlights at the Royal Albert Hall was as Siegrune include the title role in Tan Dun's Marco in Die Walküre with the BBC Scottish Polo, Elektra in Manfred Trojahn's Orest, Symphony Orchestra. 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 , 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 Sarah Castle’s performance is supported by Merchant of for the Grand Theatre the Ron and Margaret Saunders Trust

20 apo.co.nz ANDREW GLOVER TENOR RODERIGO ased in Brussels, Andrew Glover was Bborn 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 , 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 ; 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

Verdi’s Otello 2016 21 JAMES IOELU BASS-BARITONE MONTANO ew Zealand born bass-baritone NJames 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 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 His competition successes include winning Susan Bullock, and in particular an evening the New Zealand Aria Competition, the recital with Dame where the New Zealand Young Performer of the Year critics described his voice with having “a award as well as placing second in both wonderful Tito Gobbi resonance”. the Joan Sutherland and Richard Bonynge Bel Canto Competition and the Sydney In 2015 he attended San Francisco Opera’s Eisteddfod Aria Competition. Since moving Merola Opera Program singing the title to London, Mr Ioelu has had the support role in Don Pasquale directed by Nicholas and mentorship of Dame Kiri Te Kanawa Muni and conducted by Warren Jones who has taken a personal interest in him, with the San Francisco Opera Orchestra; and the Kiri Te Kanawa Foundation, for the critics hailed Mr Ioelu as “resonant which he is very grateful. 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 James Ioelu’s performance is supported and Louis XVI in The Ghosts of Versailles. by Helen Gaeta

22 apo.co.nz PELHAM ANDREWS BASS LODOVICO ass Pelham Andrews trained in BAustralia, the UK and , 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 , 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 Choir and Manukau Symphony, as well as del West, Count Ceprano in Rigoletto, many smaller ensembles. His repertoire includes the Requiems of Mozart, Fauré and the Stationmaster in Blake's The Station, Verdi, Haydn’s Creation, Handel’s Messiah, the Mandarin in Turandot, and the Imperial Beethoven Symphony No.9, Mozart and Commissioner in Madama Butterfly. Beethoven Masses, and Cantatas by Bach. Mr Andrews has sung Méphistophélès in He is also an accomplished and passionate La Damnation de Faust and the King of interpreter of song repertoire. Bambaras in Angelique for Victorian Opera, Last year Mr Andrews returned to Opera and for Opera Australia he has appeared Australia where his role and cover as Sparafucile and Monterone in Rigoletto, responsibilities included Timur in Turandot, Lodovico in Otello, Zoroastro in Orlando, Baron Douphol in La Traviata, Flemish Baron Douphol in La Traviata, Speaker in Deputy in , King in Aida, Figaro The Magic Flute and Second Mate in Billy in The Marriage of Figaro, and Masetto in Budd. He has also performed throughout Don Giovanni. In 2016 his engagements Australia, Malaysia and Singapore with include singing the role of Farfarello and touring company Co-Opera, and won covering The King of Clubs in The Love several awards including the McDonalds for Three Oranges for Opera Australia and Operatic Aria. the roles of Sciarrone in Tosca and Lester As a concert soloist, Pelham Andrews has Lamb in Cloudstreet for State Opera of performed with the Adelaide Symphony South Australia. Orchestra, Queensland Symphony Orchestra, Orchestra Victoria, Sydney Philharmonia, Australian Intervarsity Choral Festival, Melbourne Bach Choir, Pelham Andrews’ performance is supported Auckland Choral Society, Napier Civic by Dame Jenny Gibbs DNZM

Verdi’s Otello 2016 23 THE FREEMASONS CHORUS NZ OPERA CHORUS FREEMASONS NEW ZEALAND Director, John Rosser OPERA CHORUS he Freemasons NZ Opera Chorus is Soprano Baritone Tauditioned annually and has around 180 Leila Alexander Dragan Atanasov members in three separate choruses around Bernice Austin Callum Blackmore the country. Its members are trained and Lilia Carpinelli Ivan Blythe accomplished singers, requiring both the Milla Dickens Tom Coup technique to sing across an orchestra and Chelsea Dolman Clinton Fung the ability to perform on an operatic stage. Jessica Duirs Alexander Garvey The Chorus features not only in NZ Opera’s Amy Jansen Rhys Hingston mainstage productions but also in a wide Fiona Li Terry Kayes variety of concerts and special events. It Christina Orjis Alex Milligan has received considerable acclaim for its Emma Roxburgh performances, with one critic describing it Emma Sloman VIVA VOCE as “absolutely superb, both dramatically and Blaire White Soprano musically” and others hailing its “remarkable Mezzo Susan Ewart singing” and “sharp, incisive work”. Kayla Collingwood Helen Jackson John Rosser is NZ Opera’s Associate Helene Holman Luca Molnar Conductor and Chorus Director (Auckland), Helen Kim Emily Sutton as well as founder and Musical Director of Tamsyn Matchett Hilary van Lent Glenn Meade Viva Voce. In demand as guest conductor, Mezzo Mary Newman presenter and adjudicator, he chairs the Sue Fletcher Pound New Zealand Choral Federation, is Artistic Rowena Janes Post Catherine Reaburn Director of Sing Aotearoa, and devised and Margaret Robertson Jessica Wells led the NZCF National Anthem project for Christine Treseder- Vanessa Withy the 2011 Rugby World Cup. Hallett www.nzopera.com Tenor Amanda Vernon Terry Barry Roseanne Webb Lachlan Craig Rachel Young Taunoa Filimoehala Baritone Lewis Francis Grant Hutchinson David Hwang Hamish Nuttall Bo Jiang Richard Olney Patrick Kelly John Rosser Graham Mandeno Richard Sorrenson O’neal Mendoza Peter Stewart Alan Patterson Kalauni Pouvalu Dmitry Rusakov David Wallace

24 apo.co.nz SYNOPSIS orders everyone home. As the clouds clear and the moon and stars come out, Otello Giuseppe Verdi (1813-1901) and Desdemona sing an ecstatic love duet. Otello Otello fears he may never be so happy Libretto by Arrigo Boito (1842-1918), after again; Desdemona prays that their love will the play by William Shakespeare (1564-1616) remain unchanged for ever. “Amen”, sighs Otello, and pleads for a kiss. They gaze at Duration the stars, and walk back into the castle. First half: c.70’ Second half: c.75’ ACT II The action takes place at the end of the In the castle, Iago counsels Cassio; the best fifteenth century, in Cyprus, then ruled by way to recover Otello’s favour, he says, is the Republic of Venice to ask Desdemona to intercede for him. He tells Cassio to wait for Desdemona at some ACT I nearby trees, where she habitually walks at Night. A storm rages. The crowd anxiously this time of day. watches a ship fight through the waves. Alone, Iago sings his blasphemous Creed: It docks safely; the new Governor, Otello, “I believe in a cruel God, who created me in disembarks and proclaims a victory over the his image …”. And then he sees Desdemona Turks. The people rejoice, starting a bonfire. and Cassio meet and talk. Otello enters In the crowd are Otello’s ensign Iago, and just as they part. Iago innocently asks, did Roderigo, who is in love with Otello’s wife Cassio know Desdemona before she and Desdemona. Iago tells Roderigo to take Otello met? Otello guardedly asks what he heart. Desdemona, he says, will soon tire of is talking about. “Beware of jealousy, my her husband – whom Iago secretly hates, lord”, says Iago. Desdemona is now seen, for Otello promoted Cassio over him. As surrounded by Cypriots singing a madrigal wine is brought forth, Iago toasts Otello and in her praises. She enters unhurriedly with Desdemona. Cassio enthusiastically praises her lady-in-waiting Emilia, who is Iago’s Desdemona, and Iago whispers to Roderigo wife. Moved by Cassio’s remorse, she asks to beware of this handsome young upstart. her husband to pardon him – which instantly In a menacingly jolly drinking song, they ply arouses Otello’s suspicions. He angrily Cassio with wine, and by the time Montano tells his bewildered wife to go. As she comes to call Cassio to watch duty, Cassio is protests (“Look in my face and see how love entirely unfit for it. Roderigo provokes Cassio is expressed”) Iago steals Desdemona’s and they fight. Montano separates them. handkerchief from Emilia. Cassio turns on Montano, wounding him. Desdemona and Emilia leave. Otello can’t The uproar brings Otello out of the castle. quite believe that Desdemona is unfaithful, He stops the brawl, asks ‘honest Iago’ what and threatens Iago he will kill him if the happened, and receives a vague answer. accusations are false. Iago now tells Otello But when Desdemona enters, roused from that he heard Cassio talk in his sleep: her sleep, Otello angrily strips Cassio of his “Sweet Desdemona, let us hide our love, captaincy. It is Iago’s first triumph. Otello let us be wary”. Not only that, but he’s

Verdi’s Otello 2016 25 certain he remembers seeing Cassio with Desdemona to come with him, but she a handkerchief which was Otello’s first gift runs to Otello, who curses her and, raving, to his wife. Convinced, enraged, Otello collapses. “Behold the Lion!” gloats Iago. swears vengeance. ACT IV INTERVAL That night, Emilia is helping Desdemona prepare for bed. “I am so sad, so sad”: ACT III and she sings the Willow Song, about her The great hall of the castle. Otello is waiting mother’s maidservant, who was abandoned for the Venetian ambassadors to arrive by her lover. As Emilia leaves, Desdemona when Desdemona, still quite unaware why compulsively cries “Ah, Emilia, farewell!”. She her husband is behaving so oddly, asks prays the Ave Maria before going to bed. again for his pardon of Cassio. Otello To the darkness of the double basses, changes the subject and asks for the Otello enters and gazes upon his sleeping handkerchief. She doesn’t have it, and he wife. He wakes her with a kiss – ironically works himself up into a lather of hysteria, – and confronts her with her imaginary accusing Desdemona of adultery and calling crimes. Desdemona pleads that Cassio will her a “common courtesan”. She flees. confirm they were not lovers, but Otello Otello sinks into self-pity. tells her Cassio is dead, and smothers her. Iago now enters with the news that Cassio Emilia now bursts in, crying that Cassio is coming. Otello hides and watches. Iago has killed Roderigo. “Falsely accused” says chaffs Cassio about his love affair with a girl Desdemona weakly, and dies, to Emilia’s called Bianca – and of course Otello thinks consternation. Otello tells Emilia scornfully Cassio’s jokey banter is about Desdemona. that he has killed “Cassio’s strumpet”, but Now Cassio produces a handkerchief Emilia is appalled that Otello had listened which, he says, appeared in his apartment; to anything Iago said. She raises the alarm, he assumes some lady sent it as a love- and Cassio, Lodovico and Iago rush in. token, and longs to know who. (Iago, in Emilia reveals that Iago had stolen the fact.) The trumpeters signal the arrival of handkerchief from her, which unravels her the ambassadors’ ship, and Cassio leaves. husband’s machinations. He rushes out, “How shall I kill her?” Otello asks Iago. pursued by the others. Magnificent fanfares announce the The shattered Otello gazes upon ambassadors, whose chief, Lodovico, Desdemona: “beautiful, pious creature, warmly greets Otello and Desdemona. born ’neath an evil star”. He stabs himself. Otello’s shaky public mask slips when As he dies, to the music from the end of he reads the Doge’s orders: he has been Act I, he kisses her one last time. recalled, and Cassio is to govern in his PROGRAMME NOTE place. He brutally strikes Desdemona. All are horrified, and time freezes as they sing Early in the planning process for Otello, a great ensemble of sadness and shock. Verdi got stuck at the end of Act III. Iago tells Roderigo to kill Cassio, and Otello He suggested that after Otello strikes orders everyone to leave. Lodovico urges Desdemona, heralds should announce a

26 apo.co.nz Turkish attack. Otello immediately leads the Desdemona’s ‘Willow Song’ and Ave Maria, men off to battle, while Desdemona prays or the Act I drinking chorus. for his safety. A traditional finale, which thirty Even here, though, the drama rules. years earlier would have been perfectly Desdemona interrupts her own ‘number’ adequate. Now, though, Verdi wasn’t quite with the heartbreaking farewell to Emilia. sure. Asked for his thoughts, the librettist As for the drinking chorus, compare it with wrote a text that followed Verdi’s outline. a similar number from one of Verdi’s earlier Then he explained with great tact why it operas, the ‘Brindisi’ from La traviata. This didn’t work. “That attack of the Turks is like is basically an extended expression of the a fist breaking a window of a room where sentiment ‘Let’s have a great time drinking two people are dying of asphyxiation”. and falling in love’. In Otello, Iago is trying The overpowering Act III curtain we’ll hear to get Cassio drunk. As the chorus sings tonight proves the librettist was right. “Drink with me!”, Iago and Roderigo mutter His name was Arrigo Boito, and he was to each other “One more and then he’s tight a poet, journalist and composer. He was as a drum”. When Cassio does start to feel 29 years Verdi’s junior, and his younger the effects, he crashes out of the ensemble. man’s theatrical perspective was vital to In Traviata, the tune is the point of the the Otello project. Verdi had all but officially exercise. In Otello it’s the framework. retired from opera composition ten years Indeed, Otello’s very first entrance earlier, after the première of Aïda. Perhaps encapsulates this new approach. It was inevitably, given his extraordinarily long Verdi’s idea to show Otello as a great career, some thought him a has-been. hero, so that his degradation and downfall (Years earlier, Boito himself had deeply is the more tragic. Rather than a mighty offended Verdi with some infelicitously aria, though, Verdi wrote a mere thirteen expressed Angry Young Man sentiments bars – but thirteen bars of such power (it along those lines.) Verdi had been notorious is famously taxing for the tenor) that we for terrorising his librettists with endless accept Otello’s stature without question. demands. But now he was happy to trust Boito’s instincts on how drama had now And this would be unworkable without changed. Composing Otello, slowly and orchestral music of equal power. The painstakingly, he reinvented himself. passage for the double basses when Otello enters Desdemona’s room; the brilliant, For the music of Otello is quite different terrifying storm scene of the opening, and the to its predecessors’. It’s sometimes starlit night of the love duet; the dark calm commented that there are no showstopping at the start of Act IV. The orchestra is no tunes like everyone knows from Verdi’s mere accompaniment but is as much a part earlier operas: there’s no equivalent of ‘La of the drama as the singers. It is the music, donna è mobile’, or the Grand March from then, that creates the drama, and creates the Aïda. That’s not entirely fair. Otello has characters, and creates that psychological a wealth of melodies, but they are never fug which suffocates Otello, and which allowed to expand into a full-on ‘item’ and Boito was so concerned not to break. hold up the drama for their own sake. Verdi only writes long, self-contained numbers Copyright © Alastair McKean 2016. where the drama requires them, such as All rights reserved.

Verdi’s Otello 2016 27 31 August— 3 September ASB Theatre, Aotea Centre

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CONDUCTED BY Marc Taddei SUPPORTED BY NATIONAL TOURING FEATURING PARTNER Auckland Philharmonia Orchestra FUNDERS AND DONORS

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Verdi’s Otello 2016 29 SUPPORTERS CIRCLE

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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 Auckland Philharmonia Orchestra CHAIR DONORS

Auckland 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.

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

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

PRINCIPAL & TUTTI CHAIRS ($4,000 minimum annual donation) Tony & Deirdre Anselmi Family Trust Neil & Jane Haines Ralph & Penny Roberts Auckland Philharmonia Orchestra Stephen & Gail Hofmann Sylvia Rosevear Friends Michael & Dame Rosie Horton David & Dian Ross Leigh & Jennie Auton Karen Kennedy Gregory & Vlasta Shanahan Alex Baker Murray & Jill Lander Signs Around Town Ltd Charline Hamilton Baker Stephen Lloyd Andrew & Jenny Smith Adrian Burr David Lovell Janet Smith Warren & Sandra Cant MakeReady Ltd Julian Smith & Craig McAlpine Barry & Trish Clapham Marshall Day Acoustics Martin Sowter & Alison Pereira Robert & Louise Clark Geraint A. Martin & Sam Cliffe Rua & Clarrie Stevens Charitable Stephen & Laura Dee Trust Kevin Martin Paul & Alison Dyson Haydn Staples & Lynley Stewart Dame Rosanne Meo Richard & Elizabeth Ebbett Brian & Pam Stevenson Dr Tom & Ann Morris Charles & Tana Fishman Dame Adrienne Stewart Robert & Lynne Morton Richard Frechtling & Carole The Trusts Community Foundation Anna Nathan McIntosh Penelope Weber Denver & Prue Olde Mark & Amber Gatward Mike & Debbie Whale Gary & Dot Paykel Barbara Glaser & Richard Panting Peter Wilson & Gerda McGechan Penelope Peebles & James John Griffiths Sutherland Richard & Lois Hadfield Peter Pritchard & Belinda Vernon 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]

Verdi’s Otello 2016 31 Auckland Philharmonia Orchestra 21ST CENTURY CIRCLE

The 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 Judy Ganley John & Jessica Pybus Dr Ian Ball Roger Giese Carolyn Reid Carol M Best Barbara Glaser Claire Reynolds Kevin Bishop Jean Glenister Julia Reynolds John Boscawen Pamela Gould Sylvia Rosevear Canterdale Trust Lois & Richard Hadfield David & Dian Ross Angela Caughey Graeme & Margaret Hitch Stewart & Pauline Rundle Pamela Chalmers Robert & Hilary Howard Marin Segedin Kath Cherney Eric Johnston & Alison Buchanan Gordon and Madeline Stern Barry Clapham Frank Jones Ian Stevenson Tom Darrington Liggins Family Trust Anne Stewart C L Davidson Ken & Pat Meiklejohn Garrick Stuckey Christopher Devereaux Pamela Melding Sir James Wallace Ed & Una Dowding Darryl Milner Peter Wilson & Gerda McGechan Robert G Eady Dr Tom & Ann Morris Lynette Youlden Richard & Elizabeth Ebbett Denver & Prue Olde Graeme Edwards Jackie Pittman There are further 44 anonymous Robert & Anne Feigel Dame Judith Potter 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 Auckland Philharmonia Orchestra BOARD AND SOCIETY

PATRONS AUCKLAND AUCKLAND

Dame Kiri Te Kanawa, DBE, ONZ PHILHARMONIA PHILHARMONIA Dame Catherine Tizard, GCMG, ORCHESTRA BOARD ORCHESTRA GCVO, DBE, ONZ, QSO Geraint A. Martin (Chairman) SOCIETY EXECUTIVE Sir James Wallace, KNZM, ONZM Penelope Peebles (Deputy Chair) COMMITTEE Dame Rosanne Meo, DNZM, OBE Leigh Auton Secretary Carl Wells VICE PATRON Richard Ebbett Chairperson Huw Dann Mark Bennett Dame Jenny Gibbs, DNZM Neil Haines Kieran Raftery Bridget Miles Eric Renick Sue Wedde Julian Smith Tim Sutton

Auckland Philharmonia Orchestra FOUNDATION

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Belinda Vernon Robert Clark Richard Ebbett Mark Gatward Haydn Staples Simon Williams Peter Wilson, ONZM

Verdi’s Otello 2016 33 Auckland Philharmonia Orchestra ADMINISTRATION

GENERAL BUSINESS SERVICES DEVELOPMENT MANAGEMENT Director of Business Services Director of Development Laura Chief Executive Barbara Glaser Natasha Wheeler Dee PA to CEO/Receptionist TBC Accounts Administrator/Payroll Development Coordinator Stephanie Dixon Lauren Garrett ARTISTIC Accounts Assistant/Tessitura Fundraising Manager Christopher Implementation Co-ordinator Johnstone Director of Artistic Planning Wynn Riechelmann Annual Giving Programmes Ronan Tighe Executive Caitlyn Westbrooke Orchestra Manager Wendy BUSINESS Gardiner APO CONNECTING Librarian Robert Johnson PARTNERSHIPS AND Deputy Librarian TBC MARKETING Director of APO Connecting Artistic Coordinator Debbie Rachael Brand Director of Business Partnerships APO Connecting Producer Nicholson and Marketing Stuart Angel Assistant Orchestra Manager Claudia Ruff Marketing Manager Tracey APO Administrative Assistant Amber Read Holdsworth Artistic Administrator Sam Torrens Natasha Pearce Ticketing & Subscriptions Inspire Facilitator Chelsea Wong Assistant Blair Cooper OPERATIONS Publicist & Communications SISTEMA AOTEAROA Director of Operations John Ure, Manager Tiana Lyes Music Director Jess Hindin MNZM Business Partnerships Programme Manager Sistema Production Supervisor Stuart Executive Edward McKnight Aotearoa Rosalind Giffney McCann Business Partnerships and Programme Support Assistant Deputy Production Supervisor Marketing Executive Rahul Patel Bleau Bustenera Adrian Raven Marketing and Digital Media Coordinator Hao Peng Assistant Marketing Manager Helen Spoelstra Marketing Assistant TBC

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34 apo.co.nz Auckland Philharmonia Orchestra CRESCENDO

Crescendo 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.

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

PRESIDENT SECRETARY

Bryce Bartley Anne Norris 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]

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