MOZART’S The Magic (Die Zauberflöte)

8–10 March • ASB Theatre, Aotea Centre Auckland Arts Festival presents MOZART’S (Die Zauberflöte)

8–10 March 2019 ASB Theatre, Aotea Centre

Composer: Wolfgang Mozart : Directors: & Suzanne Andrade Musical Direction: Jordan de Souza & Hendrik Vestmann Stage & Costume Design: Esther Bialas Animation: Paul Barritt Conception: Suzanne Andrade & Paul Barritt (1927) & Barrie Kosky

With the Auckland Philharmonia Orchestra

Produced by Komische Oper

Presented by arrangement with Arts Projects Australia

Cover & Images: Iko Freese / drama-berlin.de

Auckland Arts Festival Season supported by

Opera Boost Patrons Jeremy Collins • Sir Roderick and Gillian, Lady Deane • Trevor and Jan Farmer ‘Pamina & Papageno’ Friedlander Foundation • Kent and Gaye Gardner • Dame Jenny Gibbs • The Wallace Foundation 1 ‘Tamino & Papageno’

‘Papageno’

Welcome

Nau Mai, Haere Mai. In each of my festivals, I want to present created the most popular production we would not be able to dream so ambitiously. for Auckland audiences an outstanding of the modern era, evidenced by audiences Huge thanks also to our sponsor, the University Welcome to Te Ahurei Toi o example of artists who are breathing new storming the box office in major cities around of Auckland, and to Goethe Institute, both of Ta¯maki Makaurau 2019. life into classic works and engaging in art the world. Now it is our turn to be enchanted. whom contributed greatly to presenting this making in thoroughly contemporary ways. project. We are grateful for the ongoing and It is a privilege for us to welcome to New steadfast support of Auckland Council and In this extraordinary production of Mozart’s Zealand for the first time a major European Creative New Zealand. most loved opera, The Magic Flute, we see in this epic enterprise, with the collaboration between a storied opera some 125 members of KOB joining with our I invite you to continue your Auckland Arts house from the heart of the Germanic beloved Auckland Philharmonia Orchestra Festival experience following The Magic Flute tradition in , and a under Erster Kapellmeister Jordan de Souza. as we bring you amazing artists from Aotearoa daring UK theatre company in 1927 for and beyond. This is a festival made with aroha whom opera was an unknown universe. Thank you to New Zealand Opera, whose by a group of people I am honoured to work exciting new General Director Thomas de with, led by our CEO David Inns. KOB’s utterly unique Flute compels us to Mallet Burgess has been a staunch comrade look again at the operatic art form and of this project. Our deepest thanks to the It’s your festival. You are welcome. Nga¯ mihi nui. find fresh and thrilling inspiration. It is visionary gifts of our Opera Boost patrons no overstatement to say that directors led by the late, great Jeremy Collins. Without Jonathan Bielski Barrie Kosky and Suzanne Andrade have the support of such generous Aucklanders, Artistic Director, Auckland Arts Festival

2 3 Synopsis

Act I Act II

In a dark forest, far away… Pamina is being importuned by Sarastro’s The trial of silence For her part, Pamina believes that she has slave Monostatos. Papageno, who has lost Tamino forever. In her despair, she seeks As he flees from a dangerous giant serpent, become separated from Tamino on the way Tamino and Papageno must practise being to end her own life, but is prevented from Tamino is rescued at the last second by the to Sarastro, is as scared by the strange silent. Because of the appearance of the doing so by the three boys, who assure her three ladies who serve the Queen of the appearance of Monostatos as the slave is by ladies and their warnings, their ordeal is a that Tamino still loves her. Gladdened and Night. When he regains consciousness, the Papageno’s. Alone with Pamina, Papageno truly testing one. Tamino remains resolute, relieved, Pamina accepts their invitation to first thing Tamino sees is Papageno, and he announces that her rescuer Tamino will while Papageno immediately begins to see Tamino again. believes him to be his rescuer. soon arrive. Papageno himself is sad that chatter. his search for love has thus far proved Reunited at last, Tamino and Pamina undergo Papageno, a bird catcher in search of love, fruitless. Pamina comforts him. Meanwhile, Monostatos again tries to get the final trial together. does nothing to dispel the misunderstanding. close to the sleeping Pamina. The Queen of The three ladies return and punish Papageno The three boys have led Tamino to the the Night appears and orders her daughter The trial of fire and water for his lies by rendering him mute. They gates of Sarastro’s domain. Although he to kill Sarastro. Pamina remains behind, The music of the magic flute and their love show Tamino a picture of Pamina, the is initially refused entry, Tamino begins to despairing. Sarastro seeks to console Pamina for one another allow Tamino and Pamina daughter of the Queen of the Night, whom doubt the statements made by the Queen of by foreswearing any thoughts of revenge. to conquer their own fear and overcome the Tamino instantly falls in love with. the Night regarding Sarastro. He begins to dangers of fire and water. play on his magic flute, and enchants nature The trial of temptation Shortly thereafter, the Queen of the Night with his music. Tamino and Papageno must resist any Papageno is meanwhile still unsuccessful herself appears and tells Tamino of her in his search for his great love. Despairing, daughter’s kidnapping at the hands of Papageno meanwhile flees with Pamina, temptation: no conversation, no women, no food! he now also seeks to end his life, but is Sarastro. Tamino responds with great but they are caught by Monostatos and also prevented from doing so by the three enthusiasm to her command that he free his helpers. Papageno’s magic bells put As well as the magic flute and magic bells boys. Papageno’s dream finally comes true: Pamina. The three ladies give Papageno back their pursuers out of action. Sarastro and the three boys also bring Tamino and together with his Papagena, he dreams of his voice and instruct him to accompany his retinue then enter upon the scene. Papageno food, which Tamino once again being blessed with many children. Tamino. As a protection against danger, they Monostatos leads in Tamino. The long steadfastly resists. Even Pamina fails to draw give Tamino the gift of a magic flute, while yearned-for encounter between Tamino and a single word from Tamino’s lips, which she Meanwhile… Papageno receives magic bells. The three Pamina is all too brief. Sarastro orders that interprets as a rejection. She laments the …the Queen of the Night, the three ladies, and ladies declare that three boys will show they must first face a series of trials. cooling of Tamino’s love for her. the turncoat Monostatos arm themselves for Tamino and Papageno the way to Sarastro. Interval Before the last great trial, Pamina and an attack against Sarastro and his retinue. Tamino are brought together one last time to However, the attack is repelled. say farewell to one another. Tamino and Pamina have reached the end of Papageno is not permitted to take part in any their trials, and can finally be together. further trials. He now wishes for only a glass of wine – and dreams of his great love.

4 5 Artists’ Q&A

Barrie Kosky, How did you come up with the idea of The result was a unique Magic Flute. Although Paul Barritt (filmmaker; co-creator staging The Magic Flute with 1927? Suzanne and Paul were working in Berlin for of 1927): And yet it would be wrong to Suzanne Andrade the first time, they had a natural feel for the see in our work only the influence of the & Paul Barritt Barrie Kosky (stage director; Intendant city’s artistic ambiance, especially the Berlin 1920s and silent film. We take our visual of the Komische Oper Berlin): The Magic on flying elephants, of the 1920s, when it was such an important inspiration from many eras, from the Flute is the most frequently performed creative center for painting, cabaret, silent film copper engravings of the as the world of silent film German-language opera, one of the top and animated film. Suzanne, Paul and I share well as in comics of today. There is no and the eternal ten in the world. Everyone knows a love for revue, vaudeville, music hall and preconceived aesthetic setting in our mind the story; everybody knows the music; similar forms of theatre, and, of course, for when we work on a show. The important search for love. everyone knows the characters. On top of silent film. So our Papageno is suggestive of thing is that the image fits. A good example that, it is an “ageless” opera, meaning that Buster Keaton, Monostatos is a bit Nosferatu, is Papageno’s aria ‘Ein Mädchen oder an eight-year-old can enjoy it as much and Pamina perhaps reminiscent of Louise Weibchen’ [a girl or a little wife]. In the as an octogenarian can. So you start out Brooks. But it’s more than a homage to silent libretto, he is served a glass of wine in the with some pressure when you undertake a film – there are far too many influences from dialogue before his aria. We let him have staging of this opera. I think the challenge other areas. But the world of silent film gives a drink, but it isn’t wine. It’s a pink cocktail is to embrace the heterogeneous nature us a certain vocabulary that we can then use in from a giant cocktail glass, and Suzanne of this opera. Any attempt to interpret the any way that we like. had the idea that he would start to see pink piece in only one way is bound to fail. You elephants flying around him. Of course, the almost have to celebrate the contradictions Is your love of silent film the motivation most famous of all flying elephants was and inconsistencies of the plot and the behind the name “1927”? Dumbo – from the 1940s – but the actual characters, as well as the mix of fantasy, Suzanne Andrade (stage director/performer; year isn’t important as long as everything surrealism, magic and deeply touching comes together visually. human emotions. co-creator of 1927): 1927 was the year of the first sound film, The Jazz Singer with Al Jolson, Suzanne Andrade: Our Magic Flute is In 2008, I attended a performance of an absolute sensation at the time. Curiously, a journey through different worlds of Between the Devil and the Deep Blue Sea, however, no one believed at that time that the fantasy. But as in all of our shows, there the first show created by 1927. From the talkies would prevail over silent films. We found is a connecting style that ensures that the moment the show started, there was this this aspect especially exciting. We work with whole thing doesn’t fall apart aesthetically. fascinating mix of live performance with a mixture of live performance and animation, animation, creating its own aesthetic world. which makes it a completely new art form in Barrie Kosky: This is also helped by Within minutes, this strange mixture of silent many ways. Many others have used film in 1927’s very special feeling for rhythm. The film and music hall had convinced me that theatre, but 1927 integrates film in a very new rhythm of the music and the text has an these people had to do The Magic Flute way. We don’t do a theatre piece with added enormous influence on the animation. As with me in Berlin! It seemed to me quite movies. Nor do we make a movie and then we worked together on The Magic Flute, an advantage that Paul and Suzanne would combine it with acting elements. Everything the timing always came from the music, be venturing into opera for the first time, goes hand in hand. Our shows evoke the world even – especially – in the dialogues, which because they were completely free of any of dreams and nightmares, with aesthetics that we condensed and transformed into silent preconceptions about it, unlike me. hearken back to the world of silent film. film intertitles with piano accompaniment.

‘Papageno’ 6 7 However, we use an 18th-century fortepiano, Basically, we have a hundred stage sets in Barrie Kosky: A strange, fairytale love is alone – her husband has died, and her and the accompanying music is by Mozart, which things happen that normally aren’t story, one that has a lot of archetypal and daughter has been kidnapped. Even Sarastro, from his two fantasias for piano, KV 475in C possible onstage: flying elephants, mythological elements, such as the trials they who has a large following, has no partner at minor and KV 397 in D minor. This not only trailing notes, bells as showgirls... We can must undergo to gain wisdom. They have to his side. Not to mention Monostatos, whose gives the whole piece a consistent style, but fly up to the stars and then ride an elevator go through fire and water to mature. These unfulfilled longing for love degenerates into also a consistent rhythm. It’s a silent film by to hell, all within a few minutes. In addition are ancient rites of initiation. The Masonic unbridled lust. The Magic Flute is about the , so to speak! to all the animation in our production, there trappings imposed on the story interested us search for love, and about the different forms are also moments when the singers are in a very little, since they have, of course, much, that this search can take. Does this piece work without the dialogues? simple white spotlight. And suddenly there’s much deeper roots. Finally, it is also an Orphic story – it is : I think that almost any only the music, the text and the character. Suzanne Andrade Tamino falls in love with a portrait. How many about the power of music, music that can story can be told without words. You can The very simplicity makes these perhaps the myths and fairy tales include this plot point? move mountains and nature. After all, the undress a story to the bone, to find out what most touching moments of the evening. The hero falls in love with a picture and goes opera is called The Magic Flute, not Tamino you really need to convey the plot. We tried to During the performance, the technology in search of the subject. And on his way to and Pamina! The magic flute isn’t just an do that in . You can convey so The Magic Flute doesn’t play in the foreground. Although her, he encounters all sorts of obstacles. instrument, it is the quintessence of music, much of a story through purely visual means. Paul spent hours and hours sitting in front And, at the same time, the object of his and music, in this case, is synonymous with You don’t always need two pages of dialogue of computer to create it, his animation never desire faces her own personal obstacles on love. I think that’s the reason why so many to show the relationship between two people. loses its deeply human component. You will her own journey. people love this opera so much, because You don’t need a comic dialogue to show always notice that a human hand has drawn they see, hear and feel that it’s a universal that Papageno is a funny character. A clever everything. Video projections as part of You can experience our production as a representation of those looking for love, a gimmick can sometimes offer more insight theatrical productions aren’t new. But they journey through the dream worlds of Tamino journey that we all take time and time again. than dialogue. often become boring after a few minutes, and Pamina. These two dream worlds collide and combine to form one strange : Going back to silent films, for because there isn’t any interaction between Paul Barritt dream. The person who combines these a moment – they weren’t just films without the two-dimensional space of the screen dreams and these worlds is Papageno. We sound, with intertitles in place of the missing and the three dimensions of the actors. are very focused on these three characters. voices. Intertitles were actually used very Suzanne and Paul have solved this problem Interestingly, Papageno is in pursuit of an sparingly. The makers of silent films instead by combining all of these dimensions into a common theatrical language. idealised image too: the perfect fantasy told their stories through the visual elements. woman at his side, something he craves While talkies convey the stories primarily What is The Magic Flute really about? almost desperately. Despite all of the through dialogue, silent films told their story comedic elements, there is a deep loneliness through gestures, movements and glances, Paul Barritt: It’s a love story, told as a in The Magic Flute. Half of the piece is the and so on. fairy tale. fact that people are alone: Despite the joy in Barrie Kosky: This emphasis on the images Suzanne Andrade: The love story between Papageno’s bird catcher aria, it’s ultimately makes it possible for every viewer to Tamino and Pamina. Throughout the entire about a man who feels lonely and longs for experience the show in his or her own way: piece, the two try to find each other – but love. At the beginning of the opera, Tamino is as a magical, living storybook; as a curious, everyone else separates them and pulls running alone through the forest. The three ladies are alone, so they are immediately contemporary meditation on silent film as a them away from each other. Only at the very ‘Papageno’ singing silent film; or as paintings come to life. end do they come together. attracted to Tamino. The Queen of the Night

8 9 ‘Papageno & Monostatos’ Creatives

Barrie Kosky was Artistic Director of the 1996 Adelaide Festival and has directed opera and theatre productions for Opera Australia, Sydney Theatre Company, Melbourne Theatre Company and the Sydney and Melbourne International Festivals. From 2001–05 BARRIE KOSKY he was co-Artistic Director of the Vienna PAUL BARRITT Direction Schauspielhaus. Animation Barrie Kosky is the Intendant and Future plans include invitations to the Paul Barritt is the Co-founder and Chefregisseur (Artistic Director) of the Bayerischen Staatsoper (Agrippina), Opéra Co-artistic Director of 1927. For 1927 Komische Oper Berlin. At the end of his National de Paris (Prince Igor), Opéra de Paul has co-created, animated and first season for 2012/13, the Komische Dijon (Les Boréades), designed four highly acclaimed and Oper was voted “Opera House of the New York, (Orphée aux innovative animated theatre shows: Year” by Opernwelt magazine and in Enfers), Festival d’Aix-en-Provence and Between the Devil and the Deep Blue 2016, Barrie Kosky was voted “Director Glyndebourne Festival Opera. Sea; The Animals and Children Took of the Year” by Opernwelt. In 2014, Kosky to the Streets; The Magic Flute with was voted “Opera Director of the Year” Komische Oper Berlin; and Golem. For Cast List at the International Opera Awards in his work with 1927, Paul has won the London and at the same awards in 2015, Critic’s Circle Award for best design the Komische Oper was voted “Opera (Golem) and the coveted Knight of the Company of the Year”. Illumination award for best Projection Pamina Second Lady Fortepiano, Glockenspiel (Golem). His most recent work at the Komische Iwona Sobotka ◊ Karolina Gumos ◊ Mark McNeill Oper Berlin has included The Magic Flute Outside of 1927 Paul has collaborated Kim-Lilian Strebel + Maria Fiselier + (co-directed with 1927) which has been with Musik Fabrik Köln on an Conductors seen by over 450,000 people in three SUZANNE ANDRADE animated music concert (Krazy continents, The Monteverdi Trilogy, Ball Direction Kat Projekt). His short film White Tamino Third Lady Jordan de Souza ◊ im Savoy, West Side Story, Moses and Morning (2013) played in many of Aron, Les Contes d’Hoffmann, Jewgeni Suzanne Andrade is the Co-founder of the major film festivals, including Aaron Blake ◊ Nadine Weissmann ◊ Hendrik Vestmann + Onegin, The Pearls of Cleopatra, Candide, 1927. 1927’s trademark style integrates Sundance, Melbourne International Adrian Strooper + Caren Van Oijen + The Nose, The Fair at Sorochintsi, Pelléas performance, music and animation to Film Festival and London Short Film Orchestra et Mélisande, Anatevka – Fiddler on the create groundbreaking theatre. Festival. He has collaborated with Roof, La bohème and his production of V&A museum, animating a painting Queen of the Night Erster Geharnischter Auckland Philharmonia Castor and Pollux (co-produced by the As 1927, Suzanne and Paul Barritt by Dennis van Alsloot. Paul also Christina Poulitsi ◊ Emil Lawecki ◊ Orchestra English National Opera) which won the (alongside fellow collaborators Esme lectures in Animation and Illustration Laurence Olivier Award for best opera Appleton and Lillian Henley) have worked at Middlesex University. In 2015, Paul Aleksandra Olczyk + Christoph Späth + production in 2012. together for 10 years to create their own featured alongside Suzanne in the Chorus unique style of theatre making, inspired “Progress 1000”, a list of the 1000 Sarastro/Speaker Zweiter Geharnischter Komische Oper Berlin Chorus Barrie Kosky’s Glyndebourne Festival by their love of silent film and animation. most influential people in London and production of Saul opened the 2017 For 1927, Suzanne has written and in “The Stage 100 List” of the most In-sung Sim ◊ Horst Lamnek ◊ Adelaide Festival at the beginning of influential people in UK Theatre. Chorus Director March. In 2017 he made his Bayreuth directed the multi-award winning shows Andreas Bauer Kanabas + Andrew Collis + Between the Devil and the Deep Blue David Cavelius Festival debut with Die Meistersinger paulbarritt.com von Nürnberg. He has directed opera Sea, The Animals and Children Took Papageno Papagena productions for the Bayerische to the Streets and Golem. Awards for Staatsoper (Die Schweigsame Frau and these productions include Herald Angel, Joan Martin-Royo ◊ Talya Lieberman ◊ + ◊ Performing: Friday 8 March The Fiery Angel), Glyndebourne Festival Fringe First, Carol Tambor, Arches & Sunday 10 March (1pm) Opera (Saul), (Dido and Brick, Total Theatre, Off West End, Tom Erik Lie + Critics Circle and the Empty Boys + Performing: Saturday 9 March Aeneas/Bluebeard’s Castle and Carmen), Space Ensemble Award. Since 2007 the & Sunday 10 March (6pm) the Dutch National Opera (Armide), Monostatos Members of Opera Zurich (La Fancuilla del West company has toured extensively. Ivan Turšic´ ◊ Tölzer Knabenchor ◊ + and Macbeth) and Royal Opera House Suzanne’s opera debut was The Magic Covent Garden (The Nose). He has also Flute for the Komische Opera, which she Emil Ławecki + Ludwig Bachmayer presented his productions at the Los co-conceived and co-directed, followed Gero Horn Angeles Opera, Teatro Real Madrid, Gran by Stravinsky’s Petrushka and Ravel's First Lady Liceu Barcelona, Vienna Staatsoper, L’enfant et les sortileges. Suzanne Friedrich Von Lewinski Portrait Image Credits: Jan Windszus English National Opera, Oper Graz, recently featured alongside Paul in the Ashley Milanese ◊ Photography (p11, Kosky; p15, Strooper; p19, Theater Basel, Aalto Theater Essen, Valentin Piller “Progress 1000”, a list of the 1000 most Mirka Wagner + Lie, Turšic´; p20, Gumos, Wagner; p21, Fiselier, Staatsoper Hannover, Deutsches Theater influential people in London and in “The August Zohm van Oijen; p22, Späth), Gunnar Geller (p12, Berlin and Schauspielhaus Frankfurt Stage 100 List” of the most influential Lenz, Leetz, Cavelius), Brent Calis (p13, and is a regular guest at the Edinburgh people in UK Theatre. Daniel Witzany de Souza), Robert Recker (p12, Chorus) International Festival. 19-27.co.uk 10 11 Chorus ‘Tamino’ Conductors

ESTHER BIALAS DIEGO LEETZ DAVID CAVELIUS JORDAN DE SOUZA HENDRIK VESTMANN Set, Costumes Lighting Chorus Director Conductor Conductor Esther Bialas was born in Hamburg, Diego Leetz began his career in 1988 as David Cavelius was born in 1985 in the Jordan de Souza is a Canadian conductor Hendrik Vestmann was born in Tartu where she studied costume design. Her a lighting technician and later as a lighting Saarland, Germany. He studied the piano and current Erster Kapellmeister of the (Estonia) and gained his musical long-standing collaboration with the inspector at the Berliner Staatsoper, where with Pavel Gililov, Rüdiger Komische Oper Berlin. Following a highly education at the Estonian Academy for director Nicolas Stemann includes the he worked on Paul Abraham’s Blume von Bohn, music theory with Johannes Schild successful collaboration with director Music in Tallinn as well as under Wolf- costume designs for his productions Hawai, directed by Andrea Schwalbach; and composition with Krzyszlof Meyer in Barrie Kosky in a new production of Dieter Hausschild at the Conservertoire of Hamlet at Schauspiel Hannover, Il mondo della luna, directed by Karoline Cologne and Düsseldorf, and participated Pelléas et Mélisande in 2017, they will join for Music in Karsruhe (Germany). Since Jelinek’s Das Werk at the Burgtheater Gruber; La forza del destino, directed in masterclasses with Andrea Bonnatta forces again in the forthcoming season 2001, he has conducted numerous in Vienna and Schiller’s Die Räuber by Stefan Herheim; and Maria Stuarda, and Irwin Gage. From 2000 he was the for new productions of Candide and La orchestras including the MDR Sinfonic, at the Thalia Theater Hamburg. Her directed by Karsten Wiegand. Since then he accompanist of the Niederrheinische bohème. In addition, he will tour Australia the NDR Radio Philharmonic, the credits as a set designer include has designed the lighting for productions Concert , and was responsible for and New Zealand with The Magic Flute, Hamburg, Düsseldorf, Bochum, Stefan Müller’s production of Werther by a wide range of notable directors, its management and rehearsal during conducting the Auckland Philharmonia, Wuppertal and Nürnburg Sinfonic in Lucerne and Biographien 36 37 for including Günter Krämer, Barrie Kosky, tho 2009–10 season. He has conducted West Australian Symphony and Adelaide Orchestras, the Tampere Philharmonic the women’s collective LaborLavache, Torsten Fischer, Stefan Herheim and the Deutsche Radio­-Kammerorchester Symphony Orchestras. Orchestra (Finnland) and the Graz which she co-founded with the director Kirill Serebrennikov. His notable credits and the Niederrheinischen Sinloniker, Philharmonic Orchestra. In 2006 he Christiane Pohle. Her credits for include Krämer’s production of Der Ring and he founded the chamber orchestra In 2017–18, Jordan conducted 28 won the Hermann-Abendroth prize in LaborLavache include productions at des Nibelungen for the Opéra National Apollo Ensemble in 2004 and the choir performances of Carmen with the Weimar and was a finalist and prize- the Schauspielhaus Zürich and the de Paris. Since the 2012–13 season he Collegium Vocale Niederrhein in 2007. Vienna Symphony Orchestra in a highly winner in the German Conductors’ Berliner Theatertreffen. She has also has been the Artistic Director and Head successful production at the Bregenzer Award, held at the Berlin Philharmonie. worked on productions at the Theater of Lighting at Komische Oper Berlin, for Since 2011 he has been the regular Festspiele, which resulted in a re- Basel and on Barrie Kosky’s production which his extensive lighting credits include pianist with the Linden Quintet, Berlin. invitation to conduct a new production Hendrik’s operatic career began at of Strindberg’s A Dream Play at the American Lulu, Taner Akyol’s Ali Baba and His own compositions for piano, chamber of in 2019. Future seasons also Heidelberg Operahouse, where he made Deutsche Theater Berlin. the 40 Thieves, The Magic Flute, The Fiery ensemble, chorus and orchestra have see him make debuts at the Staatsoper his debut with Rossini’s La Cenerentola. Angel, A Midsummer Night’s Dream, Milos been performed by numerous ensembles, Hannover, the Gran Teatre del Liceu 2004–06 saw him as the Musical Her credits for Komische Oper Berlin Vacek’s Des Kaisers neue Kleider, Così fan including the Niederrheinischen (Barcelona), and Houston Grand Opera. Director of Tartu Operahouse and include the sets and costumes for West tutte, Nico Dostal’s Clivia, La belle Hélène, Sinfoniker, the Hagen Philharmonic subsequently as the First Kappellmeister Side Story, Weill’s The Seven Deadly Orchestra and tile Badische Staatskapelle Born in Toronto, Jordan studied and Deputy Musical Director of Münster Marius Felix Lange’s Das Gespenst von conducting at McGill University (Montreal) Sins, Paul Abraham’s Ball im Savoy Canterville and the ballet Don Juan. Karlsruhe. He conducted Vokalensemble Operahouse. From 2013–16 he was the and Christian Jost’s Mikropolis. Her St. Dionysius Krefeld in a recording of and made his conducting debut aged Chief Musical Director of the Operahouse opera credits elsewhere include the Dupre’s De Profundis, and as a pianist he 20 with Bach’s St. John Passion. Upon in Bonn. Since 2016/17, he has been costumes for Lucia di Lammermoor in has performed throughout Germany and graduation he joined the McGill faculty the General Musical Director of the Hamburg and the sets and costumes in Belgium, France, Italy, Austria, Russia, from 2011–15 and went on to conduct Oldenburg Staatstheater where he has for Die schweigsame Frau in Munich. the Netherlands and Switzerland. He has several important oratorios including the lead his first Wagnerian Ring Cycle. Since 2004 she has taught stage taught at the Musikhochschule Köln since St. Matthew Passion, Christmas Oratorio, design at the Hochschule für Bildende 2010 and became the Chorus Director of Mass in B-Minor, and of Verdi, As a guest conductor Hendrik has Künste, Hamburg. the Komische Oper Berlin in 2013. Mozart, Fauré and Duruflé. During conducted at various opera houses, this time, he was also Conductor in including Opera St. Gallen (Switzerland), Residence of Tapestry Opera (Toronto), Nationaltheater Mannheim, the ULRICH LENZ conducting the world premieres of three Badisches Staatstheater Karlsruhe, Dramaturg full-length operas. Aachen Opera, Staatstheater Hannover and in Austria at Graz Operahouse. In Ulrich Lenz studied musicology, theatre Jordan made his debut in 2015 for the 2012 he conducted a concert tour in and art history in Munich, Berlin and , conducting Istanbul with the Duisburg Philharmonic Milan. During his time in Italy he worked their Claus Guth production of Le nozze di Orchestra. Furthermore, he is a regular as a correspondent for Die Well, regularly Figaro. The following year he was invited guest in several productions at the reporting on cultural events in northern to join the staff of the Komische Oper Komische Oper Berlin, with whom he Italy. He began his theatrical career Berlin where he has conducted Petrushka, travelled to China and South Korea to during the 1997–8 season, as an assistant L’enfant et les sortilèges, Eugene Onegin, conduct their production of The Magic dramaturg at the Stuttgart Staatsoper. Il barbiere di Siviglia and , Flute in 2017. He subsequently worked as an opera as well as in concert Beethoven’s dramaturg in Linz and Mannheim, and MEMBERS OF THE Fourth Symphony and Violin Concerto, was Head Dramaturg of the Hanover KOMISCHE OPER BERLIN CHORUS Tchaikovsky’s Violin Concerto and Romeo Staatsoper (2006–11). Since the 2012–13 and Juliet Fantasy , Schreker’s season he has been Head Dramaturg of Kammersymphonie, and Stravinsky’s the Komische Oper Berlin. Symphony for Wind Instruments. 12 13 ‘Pamina’ ‘Tamino’ ‘Pamina’

IWONA SOBOTKA KIM-LILIAN STREBEL AARON BLAKE ADRIAN STROOPER Iwona Sobotka achieved international British/Swiss Kim-Lillian 2017 George London Foundation Award Adrian Strooper is an Australian-born acclaim as the Grand Prize winner of Strebel has received rapturous critical winner Aaron Blake earned international currently based in Berlin as a resident the Queen Elisabeth International Music acclaim following a number of high- recognition for his portrayal of the soloist at the Komische Oper Berlin. In Competition of Belgium, and First Prize profile debuts. These include Pamina in role of Timothy Laughlin in the world the 2018 season Adrian will debut the at the East & West Artists International Barrie Koksy’s production of The Magic premiere of Fellow Travelers. role of Il Conte Almaviva in Il Barbiere di Auditions in New York, which resulted in Flute for Cincinnati Opera – marking Sivilgia, along with reprising the roles of her debut concert in Carnegie Hall. her U.S. operatic debut – and Théâtre Aaron recently made a critically Lenski in Jewgeni Onegin, Don Ottavio National de l’Opéra-Comique, Cendrillon acclaimed debut with New York in Don Giovanni and Belmonte in Die Recent and upcoming projects include for Theater Freiburg, and Lauretta in City Opera in Peter Eötvös’ operatic Entführung aus dem Serail. He regularly a return to the Komische Oper Berlin as Calixto Bieito’s new production of Gianni adaptation of Angels in America as performs Tamino in the world renowned Pamina in Barrie Kosky’s production of Schicchi at the Komische Oper Berlin. Louis. He has performed leading roles production of The Magic Flute, appearing The Magic Flute, on tour in Australia and with Cincinnati Opera as Don Ottavio most recently at the Opera Comique, New Zealand; her debut at the Teatro Future engagements include her Italian in Don Giovanni, Pan in La Calisto and Paris, , Moscow and Liceu, de La Zarzuela in Madrid as Esperanza debut singing Sirene/Una Donna in Tamino in The Magic Flute; Komische Barcelona. In 2017 he was a guest at the in Gimenez’s Maria del Pilar; her debut Handel’s Rinaldo at the 44th festival della Oper Berlin and Minnesota Opera Adelaide Festival in the role of Jonathan at the Baden-Baden Festival with the Valle D’Itria under Maestro Fabio Luisi, as as Tamino in The Magic Flute; Utah in Barrie Kosky’s Glynbourne production Berliner Philharmoniker conducted by well as singing in a Gala Concert there Opera where he returns this season of Saul by Händel and debuted as Tom Sir as Blumenmädchen in with him. She will return to sing Pamina as Rinuccio in Gianni Schicchi; Tulsa Rakewell in The Rake’s Progress, a concert Wagner’s ; a return to the Polish in The Magic Flute at the Deutsche Oper Opera as Nadir in Les Pecheurs de performance at Warsaw Festival with the National Opera in Warsaw as Pamina in Berlin again, as well as on tour with the Perles; Dallas Opera as Romeo in Polish National Radio Symphony Orchestra. The Magic Flute; to the Poznan Opera Komische Oper Berlin (Barrie Kosky’s Romeo et Juliette; Opera Orchestra of as Violetta Valery in Traviata; and to the production) in Australia/New Zealand. New York in Parisina d’Este; Washington Adrian has performed in a guest capacity Opera Podlaska as Mimi in La bohème. She will make her Austrian operatic National Opera in Anna Bolena; and the at the Dresden, Oper Leipzig, debut in the main role of Martha in Metropolitan Opera where he debuted Deutsche Oper am Rhein, Staatstheater In 2010, Iwona participated in a Martha by Flotow at Opera Graz as well opposite Plácido Domingo in La Traviata. am Gärtnerplatz, Theater Bremen, Toulon ‘Szymanowski Focus’ programme as returning to Cincinnati Opera. Opera, New Zealand Opera and Australian curated by the distinguished Polish This season he returns to the Met for Opera. His concert repertoire includes pianist Piotr Anderszewski to promote Kim-Lillian, born in London to an artistic The Dialogues of the Carmelites, makes the works of Haydn, Händel, Beethoven, the music of Karol Szymanowski with Central European family, was trained at his role debut as Count Almavia in The Mendelssohn; the arias in the St Matthew concerts in Wigmore Hall in London and an early age as a dancer. Her singing Barber of Seville with the Tulsa Opera, Passion; and the arias and Evangelist in Carnegie Hall in New York. She also talent was then discovered by the late appears as Tamino in Australia and New the St John Passion. He has sung with contributed to a complete collection Anthony Rolfe-Johnson. She is now an Zealand with the Komische Oper Berlin, the Concertgebouw Chamber Orchestra, of Szymanowski’s songs for Channel honour ARAM of the Royal Academy of returns to the Prototype Festival as Mila Noord Nederlandse Orchestra, Latvijas Classics alongside Polish tenor Piotr Music where she studied under Ryland in the world premiere of Mila, Great Concerti in Riga and Polish National Beczala, and was accorded with the Davies and Audrey Hyland. She then Sorcerer, and will sing the role of Michel Radio Symphony Orchestra. In 2012 he distinction of the Fryderyk Award for continued at the Royal Conservatoire of in Martinu’s Juilette with the American performed at the Innsbruck Festspiel Der this recording by the National Academy Scotland and became a pupil of Dame Symphony Orchestra at Carnegie Hall. Alte Musik, as Armidoro in La Stellidaura of Recording Arts in . On a . Coming debuts include the The Mostly Vendicante by Provenzale with conductor subsequent release for EMI Classics Allesandro de Marchi, whereby a live in 2006, she performed Songs of a Mozart Festival and Opera de Montréal as Tamino, and The Liceu in Barcelona recording was made and subsequently Fairytale Princess with Sir Simon Rattle released by Deutsche Harmonia Mundi. and the City of Birmingham Symphony in La Traviata. Aaron was recently Orchestra, which received five stars in nominated for a Suzi Award Between 2010–12 Adrian performed BBC Music Magazine. offered by the Atlanta Theater Guild Tamino in Peter Brooks critically for Outstanding Performance for his acclaimed and award-winning Une flûte Following her graduation from the portrayal of Candide with the Atlanta enchantée, subsequently embarking on a Fryderyk Chopin University of Music in Symphony and was named by WQXR world tour where he performed at some Warsaw, Iwona continued her studies Operavore critic Fred Plotkin as one of of the largest music and arts festivals, with renowned artist and pedagogue the “40 Under 40: A New Generation including the Lincoln Centre Festival in Tom Krause at the Escuela Superior de of Superb Opera Singers,” cited for his New York, Les Nuits in Lyon, The Barbican Música Reina Sofía in Madrid. style and flexibility. in London, Teatro Milan, Buenos Aires Festival, Sao Paolo Festival and The Music Festival Bremen.

14 15 ‘Queen of the Night’ ‘Sarastro / Speaker’

CHRISTINA POULITSI ALEKSANDRA OLCZYK IN-SUNG SIM ANDREAS BAUER KANABAS Praised for her crystal clear voice, Aleksandra Olczyk is a much sought- In-sung Sim was born in South Korea. Andreas Bauer Kanabas sings the intonation and warm lyric colour, after young soprano, performing as most important roles of the Noble Bass Christina Poulitsi has already established Queen of the Night at international Future engagements include Sarastro repertoire in eight different languages. herself in some of the most prestigious Opera Houses such as Warsaw in The Magic Flute with Komische He has starred in such varied repertoire opera houses, including Royal Opera National Opera, Komische Oper Berlin, Oper Berlin on tour to Japan, Wurm in as King Philip II in Don Carlo (in both House in London, Bolshoi Theatre, , Joburg Theatre Luisa Miller at Opéra de Monte-Carlo, Italian and the original French), Da Silva Teatro dell’Opera di Roma, Deutsche Johannesburg and the Finnish National Banco in Macbeth in Toulouse, Padre in Ernani, Fiesco in , Oper Berlin, Teatro de Liceu Barcelona, Opera in Helsinki. Guardiano in La Forza del Destino in Zaccaria in , the title role in Semperoper Dresden, Hamburg, Tokyo, Las Palmas, Filipp II in Don Carlo and Bartok’s Bluebeard’s Castle, Méphisto Florence, Seattle and Shanghai. Aleksandra studied singing at the Le bailli in Werther in Tel Aviv. in , Vodnik in , Gremin in Feliks Nowowiejski-Music Academy in Yevgény Onégin, King Mark in Tristan She is acclaimed as one of the best Bydgoszcz, in the class of Magdalena In 1996 he was awarded first prize in the KBC competition in Korea. From und Isolde, Landgraf Hermann in interpreters of the role of Queen of the Krzyn´ska. In her early youth, she Tannhäuser, Commendatore in Don Night today, having performed this role performed on several stages in Poland 1998–99 he finished his studies of singing at the Vienna Conservatory. In Giovanni, Osmin in Die Entführung aus in 14 different productions more than and abroad, including twice in Italy dem Serail and Escamillo in Carmen, on 200 times. Other highlights to date where she gave concerts for both July 2000 he was awarded two special prizes in the Belvedere competition. international stages including the Vienna include her interpretation of the role of Pope John Paul II and Benedict XVI. Staatsoper, Opéra Bastille de Paris, Lucia di Lammermoor in Royal Opera She has attended master classes with He has won a number of other competitions, including those in Los , Teatro Municipal Santiago House’s production of Katie Mitchell and Helena Łazarska, Stefania Toczyska, de Chile, the New National Opera Tokyo, Queen of the Night in David Mcvicar’s Izabella Kłosin´ska, Olga Pasiecznik, Piotr Angeles and Oslo. Lieder recitals have taken the singer to the Marseille Opera Opéra de Lyon, Riga National Opera, production in London. Bednarski, Brenda Hurley and Matthias Semperoper Dresden and the Berlin Rexroth, and has won a number of and the Avignon Opera. Christina, whose talent was originally Sataastoper. important international prizes. In 2001 he debuted at the Vienna discovered by Mo Zubin Mehta, has In addition, he has been a member performed numerous times under She performed Donna Fiorilla in State Opera, where he sang the roles of the Steuermann, Swallow in of the solo ensemble of the Frankfurt his baton together with the Israel Rossini’s Il turco in italia, a Chriopher Opera since 2013. Philharmonic and Maggio Musicale Alden production; Blonde in Die Benjamin Britten’s and the Fiorentino (Gilda in Rigoletto together Entführung aus dem Serail; and Gilda Geisterbote in Richard Strauss’ Die Frau Andreas has many important debuts in with Ambrogio Maestri). Christina in Rigoletto at the Warsaw National ohne Schatten. He appeared as a guest 2019, including Sarastro at the Royal was also introduced to Mo Gianandrea Opera and the Hof Theatre. Concert during the 2007–08 season at such Opera House Covent Garden, PhilippeII Noseda in Tel Aviv, where she sang engagements have seen her perform in internationally known opera houses as in Don Carlo (in French) in Antwerp and Konstanze. Their collaboration continued Tokyo, Stockholm, Vienna, Salzburg, Kiel the Teatro Verdi in Trieste, the Vienna Ghent, Padre Guardiano in La forza del with Stravinsky’s Rossignol at Stresa and Krakow. State Opera and the Teatro Carlo Felice destino in Frankfurt and Alfonso d’Este Festival the following seasons, and in Genova. He made his debut at the in Lucrezia Borgia in Toulouse. a tour across Spain and Portugal. In 2018/19 Aleksandra returns as Queen Salzburg Festival in 2008 in the role of Other key performances include of the Night to the Warsaw National Capulet in Gounod’s Roméo et Juliette. He makes his Festival d’Opéra de Opera and to the Komische Oper Québec debut as Daland in Der fliegende collaborations under the baton of In March 2012 In-Sung Sim appeared , Berlin. She also portrays this role at the Holländer, a role he has also taken to Karlsruhe State Theatre and the Opéra as Timur in with Trondheim the Deutsche Oper Berlin, Frankfurt and Alberto Zedda in roles such as Symphony Orchestra. He has also Massenet’s Manon, Contessa di Folleville de Lille. In 2019 she will debut as Sophie Opera, and the Auditorio Music Madrid, in Der Rosenkavalier at the State Theatre sung in CD productions of Parsifal where he performed alongside Sir at Rossini Opera Festival in Pesaro, and for the Soeur Constance (Les Dialogues des Wiesbaden, and in 2020 as the Queen of . He returns to the Deutsche the Night at the Glyndebourne Festival. Deutsche Grammophon label and Oper Berlin in 2019 as King Heinrich Carmelites), Musetta, Isabella (L’ingano the CD recording of Handel’s opera felice) and Adele, among others. in , the role of his debuts at for EMI/Virgin Classics and both the Vienna Staatsoper and the New Christina has been a close collaborator also Handel’s Alessandro where he National Theatre in Tokyo. of Barrie Kosky and Komische Oper performed the role of Clito. Berlin, having sung the Queen of the Berlin sees him again in 2020, as Night numerous times in different cities. Zaccaria in Nabucco. Future engagements include her debut kanabas.de as Violetta in Traviata at the State Opera of Hamburg, Amina in Sonnambula at the National Opera of Greece and her return to the Royal Opera House in London. ‘Papageno’ 16 17 ‘Papageno’ ‘Monostatos’

JOAN MARTIN-ROYO TOM ERIK LIE IVAN TURŠIC� EMIL ŁAWECKI Born in Barcelona, Joan Martín- Since he was 9 years old, Tom Erik Lie Tenor Ivan Turšic´ was born in Zagreb, Emil Ławecki, tenor, graduated with Royo studied piano, violin, knew that he wanted to be an opera Croatia. First he graduated from the distinction from Vocal Department at and composition at the Conservatori singer. The catalyst for this realisation Zagreb Faculty of Civil Engineering. the Fryderyk Chopin Music University in Superior de Música del Liceu, and also was also his debut on an opera stage: From 1998 until 2000 he had his first Warsaw under the tutelage of Professor gained a degree in History of Art from in the children’s choir in at the vocal training with tenor Noni Žunec. In Ryszard Karczykowski. Since 2014 he the University of Barcelona. He did his Oslo Opera House. “I was so fascinated 2000 he started studying solo singing was a member of Opera Academy at the vocal studies with soprano Mercè Puntí that it never let me go,” he recalls. At 9 at the Zagreb Academy of Music. A year Polish National Opera. He is a laureate and has also received masterclasses years of age, he went of his own accord later he gave his debut performance at of the First Prize at the III National Vocal from , Elisabeth to join the Norwegian Broadcasting the National Theatre in Zagreb. Competition in Mława, and a Prize in Söderström, Thomas Quasthoff and Boys’ Choir, where his special gift didn’t the category of the Young Polish Artist Lorraine Nubar. He also worked on go unnoticed for long. He was quickly In 2003 he went on to study in Stuttgart awarded by the Polish Brotherhood of vocal technique with bass- entrusted with minor solo parts. And he with Prof. Dunja Vejzovic´. Ivan attended Gutenberg’s Knights. Carlos Chausson and on vocal coaching didn’t even have to interrupt the solid master classes and lessons amongst with pianist Marco Evangelisti. start to his singing career while his others with Richard Miller, Francisco Already while studying, Emil made voice was breaking: “I just wandered Araiza, Júlia Hamari and Konrad Richter. his debut on the stage of the Polish He has received awards at several through all the voice types: from During his studies he performed at the National Opera in a student’s production prestigious singing contests, including soprano to alto, then into tenor, and Stuttgart State Opera. After graduating of B. Britten’s A Midsummer Night’s the Third Male Prize, the Mozart Prize ultimately baritone. And that’s where I in 2007 until 2015 he was a member Dream and on the stage of Warsaw and the Plácido Domingo Award at the stayed,” he says with a laugh. of the Hanover State Opera ensemble. Chamber Opera as Don Ottavio in 2003 Francisco Viñas Competition. Since 2015 he is engaged at the Mozart’s Don Giovanni. In the year 2016 He was also Preisträger in the 2002 At 17, he took his first private singing Komische Oper Berlin. he debuted at the Grand Theater in Sommerakademie at Salzburg’s lessons, and nobody was surprised Łódz with the part of the Emperor in G. Mozarteum (as best Lieder singer). when he was accepted to study singing He has given guest performances in Puccini’s Turandot conducted by Antoni at the conservatorium in Oslo after London (Proms), Liceu Barcelona, Paris Wit. He also performed as Udolin in His operatic repertoire focuses graduating from high school. Upon (Opéra Comique), Budapest (Erkel), The Conspirators by F. Schubert at the especially on Mozart and Rossini: completing his studies, he received Basel, Geneva, Bremen, Dessau, Essen, Polish National Opera. Figaro in Le Nozze di Figaro (Liceu a place in the Opera Studio of the Kassel and Krefeld/Mönchengladbach, Barcelona/Champs-Elysées, Paris), Deutsche Oper am Rhein. And from that as well as on tours in China (Peking, In the 2016/17 season Emil appeared Guglielmo in Così fan tutte (Palau point, one thing led to another: after his Xiamen, Guangzhou) and Japan (Tokyo, next to Edita Gruberova in a concert de les Arts Reina Sofia, Valencia/ first engagement in Gelsenkirchen came Osaka, Hiroshima) with The Magic performance of Norma by V. Bellini Théâtre des Champs Elysées and Oper Leipzig, with the Artistic Director Flute production. Ivan often appears singing the part of Flavio at the Polish Liceu Barcelona), Papageno in The Udo Zimmermann then taking him along in concerts, at festivals (Dubrovnik National Opera, where he also debuted Magic Flute (Liceu Barcelona/Ópera to the Deutsche Oper Berlin. A guest Summer Festival, Ludwigsburg Festival) in the part of Tamino in The Magic Flute, de Oviedo/Teatro Municipal, Santiago), role – as Edwin in Die Csárdásfürstin – and has collaborated with the Croatian and as Stach in The Cracovians and the Masetto in Don Giovanni (Opéra de then brought him to the ensemble of the Baroque Ensemble. Mountaineers by J. Stefani. Monte Carlo), Dandini in La Cenerentola Komische Oper Berlin. (Glyndebourne), Lord Sidney in Il Since the 2017/18 season he is a Viaggio a Reims (La Monnaie, Brussels), “Nowadays, Berlin has become my member of the International Opera Macrobio in La Pietra del Paragone home,” he concedes. “I feel really Studio at the Komische Oper Berlin (Théâtre du Châtelet, Paris/Teatro at home here. Of course I miss the singing such parts as Tamino, Triquet in Regio di Parma), Figaro in Il barbiere di breathtaking nature of my homeland: the Eugene Onegin or Dancairo in Carmen. Siviglia (Théâtre des Champs-Elysées) mountains running straight down to the He is regularly re-invited as Tamino to and Don Parmenione in L'occasione fa il ocean.” A hut in Norway on the coast, the Polish National Opera. ladro (Teatre Lliure, Barcelona). where the mountains meet the sea – Emil has performed in significant music that would be one of Tom’s dreams centers in Poland such as National His upcoming engagements include that he hasn’t yet ticked off. “A few Papageno in Melbourne and Auckland in Philharmonic, Gorzów Philharmonic, summers’ ago I spent part of my holiday Philharmonic of Warmia and Mazury, Barrie Kosky’s production of The Magic near the city of Bergen in a hut on a Flute, Belcore in Palma de Mallorca, Swietokrzyska Philharmonic, Witold small island. We went fishing in a boat: Lutosławski’s Studio of the Polish Radio; Guglielmo of Così fan tutte in Santiago mackerel, cod, pollock. Straight from de Chile, Papageno in Barrie Kosky’s as well as abroad in the Czech Republic, the rod into our mouths, so to speak. Germany, Great Britain or Turkey. The Magic Flute again and as Schaunard A dream!“ in La bohème, both productions in the Teatro Real. ‘Queen of the Night & Tamino’ 18 19 ‘First Lady’ ‘Second Lady’ ‘Third Lady’

ASHLEY MILANESE MIRKA WAGNER KAROLINA GUMOS MARIA FISELIER NADINE WEISSMANN CAREN VAN OIJEN Hailed for her “masterful and show- Asked about her favourite film, Mirka The polish mezzosoprano Karolina As a member of the Komische Oper Born in Berlin, Nadine Weissmann Caren van Oijen has never let herself be stopping performance” (Opera News), Wagner doesn’t have to think long: La Gumos studied the violin before turning Berlin, Dutch mezzo-soprano Maria completed her degrees in London and intimidated by iron curtains. was 27-year-old Ashley Milanese returned vita è bella, by and starring Roberto to singing in Poznan´ Music College Fiselier is currently performing as at Indiana University, Bloomington with still divided into East and West as the as an Emerging Artist of Opera Benigni! “I’m just fascinated by the with Professor Wojciech Maciejowski Chava in Barrie Kosky’s new production Virginia Zeani. She began her first young Dutchwoman was brought to the Philadelphia for the 2017/18 season, honesty and joy exuded by the film and with Professor Anneliese Fried of Anatevka, as Olga in Yevgeny engagement at the theater in Osnabrück Komische Oper Berlin by where she sang First Lady in the East and its protagonists, even when there at the Hanns Eisler Music College in Onegin and as Orest in Offenbach’s in 2002, where she developed her in 1987. She still gets goosebumps Coast premiere of Barrie Kosky’s is really nothing left to laugh about.” Berlin. She has been a “Best-Mozart” Die schöne Helena. In recent seasons repertoire around central roles and thinking about a visit to see a show production of The Magic Flute, and Happiness and a fundamentally prizewinner in the international she has appeared as Emmy in Heinrich garnered particular success as Carmen. in the Semperoper Dresden: Fidelo, covered Lola in the premiere of David positive view of things are also Singing Competition. Marschner’s The Vampire, as Magdalene Competition success includes the directed by , one week Herzberg’s The Wake World. central characteristics. “My parents in The Mastersingers of Nuremberg and Second Prize and Wagner-Prize at the before the wall fell. “The prisoners’ tell everyone about my first visit to Karolina attended masterclasses and took as Ottone in The Coronation of Poppea on 2006 Francisco-Viñas Competition, as choir sang behind barbed wire, and The New Orleans, Louisiana native the opera. I sat with my eyes wide part in numerous radio and television the stage of the Komische Oper Berlin. well as the Orchestra Prize in the 2008 everyone understood the subtext. made her Opera Philadelphia debut open, staring at the stage as if I were broadcasts like ARTE and the ZDF in Seattle Opera Wagner Competition. Things were simmering – and the opera as Barbarina in Le Nozze di Figaro. hypnotised. The costumes, the light, that Germany or Polish Radio 1. She has been Maria studied at the Royal Conservatory was right at the centre of it all.” She also covered Bess McNeil in the incredible music. In that moment I knew invited to festivals such as Ruhrtriennale, in The Hague and was a member of She received international recognition as company’s premiere of Missy Mazzoli’s I was going to be an opera singer.” Händel-Festspiele in Karlsruhe, Vratislavia the National Opera Studio in London in Erda in the Ring Cycle (Petrenko/Castorf) She saw her first opera in Amsterdam: Breaking the Waves. Milanese later Cantans, Bergen Festival in Norway, 2012/13. As a winner of many prizes, of the (2013–17). Her Eugene Onegin. “I liked the role of Olga! covered the role again at the Prototype When the children’s choir of the Lutosławski Festival, Opera Festival she sang with conductors such as Kent career has taken her to the Glyndebourne Which ended up being the first role Festival with the Beth Morrison Project. Hamburgische Staatsoper was looking in Munich, other Festivals in Australia, Nagano, Mariss Jansons and Lothar and Edinburgh Festivals, to Barcelona, I sang on stage.” But she hadn’t yet for new singers, it was obvious that Neuseeland, Korea, China and Scotland. Koenigs and worked with directors such Madrid, Valencia, Monte-Carlo, Paris, caught the bug. “Sometimes I found Ashley has participated in summer Mirka had to join. At 9 years of age, she as Stefan Herheim, Andrea Breth and Bordeaux, Lisbon, Munich, Berlin, opera a bit boring.” Then she saw a festivals and programmes including Wolf was accepted into the children’s choir, She sang in Teatro de la Maestranza . Numerous concert Hamburg, Frankfurt, Dresden and show in Amsterdam that changed her Trap Opera Studio (2017) and Opera and she left a full 10 years later, at 19, in Sevilla, the Gran Teatre del Liceu in activities with renowned orchestras took Amsterdam. Her repertoire also includes life: Harry Kupfer’s production of Boris Theatre of Saint Louis (2015), where she to move to Berlin to study. “Though I Barcelona, the Semperoper Dresden, the her across Europe. Laura (La Gioconda), Ježibaba (Rusalka), Godunov. “That was a turning point for made her company debut as Yvette in had been involved in countless operas in Hamburg State Opera, the Deutsche Oper Baba the Turk (The Rake’s Progress), me, and it really left an impression on La Rondine. the children’s choir, I have to admit that Berlin, the Opera Frankfurt, the BESETO Highlights of the past years include Leokadja Begbick (Mahagonny), Mrs. me.” She rang Harry Kupfer. He invited I had very rarely experienced an opera Opera Seoul, and has given concerts and her Masha in Tchaikovsky’s Queen of Quickly (), Gräfin Helfenstein her to audition – and brought her over Past symphonic performances include stage performances in Spain, Portugal, Spades and Delia in Rossini’s Il viaggio operatic selections with the National as a member of the audience. And (Mathis der Maler), Ulrica (Un ballo in to the Spree! when I then did find myself sitting in Poland, Italy, Switzerland, Latvia, Scotland, a Reims at the Dutch National Opera or maschera), Old Lady (Candide), Duenna Orchestral Institute Philharmonic, Faure’s Belgium and Germany (Berliner her second lady in Mozart’s The Magic For two years now, Caren has been Requiem with Harrisburg Symphony the audience again, I thought to myself: (Betrothal in a Monastery), Dalila (Samson Something is wrong here. I’m looking in Philharmonie, Dortmunder Philharmonie, Flute at the Gran Teatre del Liceu. She et Dalila), Mary (Der fliegende Holländer), fostering her own new generation of Orchestra, Mahler’s Symphony No. 2 Konzerthaus Berlin). Her most admired also sang Madamigella Dangeville in singers, as a coach in the Opera Studio with Allentown Symphony Orchestra, the wrong direction,” she laughs. Old Baroness (Vanessa), Annina (Der concert performances are Verdi Requiem, Francesco Cile’s Adriana Lecouvreur Rosenkavalier) and Maddalena (Rigoletto). of the Komische Oper Berlin. In the and operatic selections with the Mainline A love of music influences every and Songs of Wayfarer and Song of the at La Monnaie in Brussels and the ensuing years, she has amassed an Symphony Orchestra. sphere of Mirka’s life – both private and Earth from Mahler. Suzuki in at Opera Concert performances include extensive repertoire, discovered her professional. And the genre doesn’t Holland Park in London. As Dorabella in Beethoven’s Ninth Symphony and Missa love of Slavic and Spanish music, sung Previously performed roles include Karolina joined Theater Dortmund and Susanna (Le Nozze di Figaro), Eine really make a difference. Regardless of Mozart’s Così fan tutte, she convinced solemnis, Mahler’s Second and Eighth lots of baroque and contemporary whether it’s classical or jazz, rock or later Staatstheater Braunschweig and the Munich public at the Staatstheater Symphony, Mendelssohn’s , material, including multiple world italienische Sängerin (Capriccio), Manon sang there Ottavia in L’ incoronazione di (Manon), Zerbinetta (Ariadne auf Naxos), pop, the main thing is that the music am Gärtnerplatz. Brahms’ Alto Rhapsody, Wagner’s premieres. “I enjoy singing everything! touches your heart. Her creative Poppea, Sextus in , Wesendonck-Lieder, Bernstein’s The most important thing in singing is Giulia ( di seta), Nella (Gianni and the title role in German Premiere of A programme with highlights from Schicchi), and Yvette (La Rondine) for work in music is just as diverse: she Jeremiah-Sympony, Ligeti’s Folk Songs, communication. You stand on the stage helped to finance her studies recording Philippe Boesmans’ Julie. Since 2006 Carmen took her to the Miyazaki Berlioz’ Les nuits d’été, Verdi Requiem to communicate something.” It’s even her debut with the Opera Theatre of she has been a soloist at the Komische International Music Festival in Japan. Saint Louis in 2015. Other credits include advertising jingles and songs for and Dvovák’s Stabat mater. possible to break through walls with Sesame Street. Oper Berlin. Her repertoire includes the In Berlin she was heard as Susie singing – the fourth wall to the audience. Constance (Dialogues des Carmelites), title role in Carmen, Octavian in Strauss´ in Bernstein’s A Quiet Place in the She has worked with conductors George Sophie (Werther), Zerlina (Don Giovanni), And sometimes you even break through Der Rosenkavalier, Prince Charmant production of the Ensemble Modern at Alexander Albrecht, Michael Boder, Rani an iron curtain! Bubikopf (Der Kaiser von Atlantis), Lead in Cendrillon, Rosina in The Barber of the Konzerthaus Berlin as well as at the Calderon, Jesús López-Cobos, Christoph Hen (The Cunning Little Vixen), and Seville, Donna Elvira in Don Giovanni, Dresden Music Festival. Eschenbach, Lawrence Foster, Pablo Gianetta (L’elisir d’amore), among others. Dorabella in Cosi fan tutte, Idamante in Heras-Casado, Marek Janowski, Lothar , Nicklausse/La Muse in Contes Together with the pianist Peter Nilsson Koenigs, Fabio Luisi, Zubin Mehta, Ashley received both her Bachelor of she recorded the CD to go into the Music and Master of Music degrees d´ Hoffmann, Fenena in Nabucco, Sextus , Donald Runnicles, and in La Clemenza di Tito, the Fox in The unknown with songs by Gurney, directors Frank Castorf, Barrie Kosky, from the Curtis Institute of Music, where Howells and Britten. she studied under renowned instructors Cunning Little Vixen, Foreign Princess in Michael Schulz, Jean-Louis Grinda, Claus Mikael Eliasen and Marlena Malas. Rusalka and many others. Guth, Philipp Himmelmann, and Olivier Py.

20 21 ‘Erster Geharnischter’ ‘Zweiter Geharnischter’ ‘Papagena’

EMIL ŁAWECKI HORST LAMNEK ANDREW COLLIS TALYA LIEBERMAN See p19 The Viennese bass-baritone Horst Andrew Collis is well known to Recently described by Opera News Lamnek studied at the University of Australasian audiences and has as “radiant,” “poetically compelling,” Music and Performing Arts Vienna performed with all the major opera “delectably stylish” and “technically with distinction. He was trained and companies, festivals and orchestras refined,” soprano Talya Lieberman is taught among others by C. Spencer, in Australia and New Zealand. He equally at home with operatic, art song, B. Fassbaender, D. Fischer-Dieskau, was also a member of the ensemble operetta and repertoire. N. Gedda, G. Lamar and W. Slabbert. of the Cologne Opera from 1993 until 2007. During his time in Cologne, She was a recent member of the Horst joined the International Opera- he performed with numerous other Opernstudio at Komische Oper Berlin, Studio in Zurich and sang as a member where she was seen in over 120 CHRISTOPH SPÄTH opera companies including Mannheim, of the ensembles at the theatre of Ulm Frankfurt, Deutsche Oper Berlin, performances in two seasons, including Christoph Späth, a native of Berlin, (Germany) and the Komische Oper Wiesbaden, Dortmund, Essen and the six premieres and performing on tour Germany, was born as the last of seven Berlin. He gave guest performances Deutshe Oper am Rhein. in Spain, Hungary, China, South Korea children and graduated from the opera at the opera houses of Leipzig, Bonn, and Japan. She continued at KOB for department of the Yale University with a Essen, Regensburg, Wiesbaden, at the Andrew has also performed in Hong the 2018/19 season, reprising her roles masters degree in Music. After a period Musiktheater Linz (Austria), Theater Kong, the United States (San Diego) and in Fiddler on the Roof, Die Perlen der of freelance work in European Theatres an der Wien in Vienna, Opéra-Théâtre Spain (Gran Canaria in both operatic Cleopatra, L’enfant et les Sortilèges and like Operá de Lyon, Teatro Communale de Metz Métropole, Teatro Verdi and concert repertoire. His roles include The Magic Flute (on tour in Australia, di Trieste, Rostock, Braunschweig, Trieste, and at the New Figaro and Doctor Bartolo (Le Nozze New Zealand and New York City), as Salzburg Summer festival, Nederlandse National Theatre Tokyo. He was also di Figaro); Leporello, Masetto and well as adding the role of Dorothy in Opera Amsterdam and Teatro Massimo di guest performer at music festivals the Commendatore (Don Giovanni); a critically acclaimed production of Palermo, he became a frequent guest at such as Grafenegg, St. Margareten, Don Magnifico (Cenerentola), Doctor Pierangelo Valtinoni’s new operatic Berlin Komische Oper where he joined the Seefestspiele Mörbisch, Daegu Opera- Bartolo and Don Basilio (Il Barbiere di version of The Wizard of Oz. ensemble in 2002. Festival (South Korea) and Aix-en- Siviglia); Swallow and Hobson (Peter Provence (Festival de Pâques). Grimes); Doctor Kolonaty (Makropulos Among other highlights from last year’s Since then he has sung many roles Case); Zaccaria (Nabucco); Colline and season are the lead role in a premiere of the Buffo and character tenor fach His wide-ranging repertoire has an Schaunard (La bohème); and Rodolfo of Paul Abraham’s operetta Märchen such as Pedrillo in Mozart’s Operas die emphasis on buffo bass characters (La Sonnambula). im Grand Hotel, and Zerlina in Herbert Entführung aus dem Serail, Rinuccio (Leporello, Don Alfonso, Bartolo, Don Fritsch’s production of Don Giovanni. from Puccini’s Gianni Schicchi, Vashek Magnifico) operetta roles (Frank, Baron Future engagements include Doctor Talya received her Artist Diploma at from Smetana’s Bartered Bride, Sinovi Gondremark, Baron Weps), but also Bartolo (Barbiere) with New Zealand the University of Cincinnati College- from Schostakowitch‘s Lady Macbeth of comprises dramatic parts such as La Opera, Pooh Bah (The Mikado) with Conservatory of Music, and is an alumna Zcensk, Herod in R. Strauss’ , the Roche and Klingsor. South Australian Opera and a semi- of the Merola Opera Program at San Prince in The Love for Three Oranges by staged Verdi Requiem with Opera Francisco Opera and the Filene Young The bass-baritone has worked with Queensland. Artist Program at Wolf Trap Opera. Prokoffiev, Jimmy Mahoney in Brecht’s directors like A. Homoki, D. Benoin, Rise and Fall of Mahagonny, Jaquino in L. Hochstraate, N. Loschky, R. Giacchieri, talyalieberman.com Beethoven’s Fidelio, Monsigneur Triquét in and with conductors such as G. Antonini, Tschaikowsky’s Eugen Onegin and several S. Blunier, A. Eschwé, A. Orozco-Estrada, other parts in operettas by Lehár, J. U. Schirmer, S. Soltesz and Strauss, Paul Abraham and Nico Dostal. F. Welser-Möst. ‘Boys’ Among others he sang under the baton Horst regularly performs as a concert of , Helmut Froschauer, singer and recitalist all over Europe, in Vassily Sinaisky, Vladimir Jurowsky, Jakob venues such as Wiener Konzerthaus Kreitzberg, Nickolaus Harnoncourt and the (Vienna), Laeiszhalle (Hamburg), TÖLZER KNABENCHOR designated chief conductor of the Berlin Die Glocke (Bremen) and Auditorio each year, in a wide variety of works Philharmonic, Kyrill Petrenko. Nacional (Madrid). The lied oeuvre of The boy singing the Three that range from medieval music to Hugo Wolf is his particular passion Boys in this production are members Christoph, father of two children and a contemporary pieces. Particularly with his first solo CD Humorous Wolf of the Tölzer Knabenchor, which passionate golf player, will sing the role of noted in the Baroque and Classical (Coviello Classics) having been was founded in Bad Tölz, Bavaria, the #1 Geharnischte. repertoires, the Tölzer Knabenchor often released in summer 2017. by Gerhard Schmidt-Gaden in 1956. Based in Munich since 1971, the choir provides soloists to sing the Three Boys, lamnek.at comprises about 200 boys in four currently featured on 12 different CD training levels. It gives about 250 and DVD recordings of The Magic Flute. ‘Papageno & Pamina’ concerts and opera performances 22 23 Orchestra Players

FOR THIS PRODUCTION Flutes OF THE MAGIC FLUTE Melanie Lançon ß KOMISCHE OPER BERLIN Auckland Philharmonia Orchestra (APO) is As projected February 2019 Kathryn Moorhead + New Zealand’s only full-time, professional, Since the construction of the venue in He was joined by Henrik Nánási as General Music Director Piccolo city-based symphony orchestra serving Behrenstraße (which opened as the Music Director who was followed by Aina¯rs Giordano Bellincampi Jennifer Seddon-Mori * “Theater Unter den Linden” in 1892, re- Rubik¸is in 2018. The Komische Oper Berlin the Auckland region with a comprehensive opening as the “Metropol-Theater” in 1898 is versatile and flexible to a degree which programme of concerts, education and Concertmaster after bankruptcy), the Komische Oper Berlin is unusual for an opera house. This and the outreach activities. Andrew Beer Bede Hanley ß Camille Wells + has at various times been a consistent fixed ensemble of singer-performers are Associate Concertmaster In more than 70 performances annually, the international trend-setter in the world of key characteristics of the Komische Oper Liu-Yi Retallick Cor Anglais musical theatre. As the leading theatre Berlin under Kosky’s directorship. APO presents a full season of symphonic work Martin Lee * for operettas and revues in the 1920s, it showcasing many of the world’s finest classical Assistant Concertmaster fundamentally shaped the Berlin, and hence Kosky’s conceptual approach draws not musicians. Renowned for its innovation, passion Miranda Adams only on the tradition set by Felsenstein, international, entertainment scene. and versatility, the APO collaborates with some Bridget Miles (Bass ) + but also on the venue’s pre-war traditions, First Violins James Fry (Eb Clarinet) + Following the Second World War, Walter which were strongly shaped by Jewish of New Zealand’s most inventive contemporary Artur Grabczewski # Felsenstein’s concept of musical theatre actors and have hitherto received less artists. Mark Bennett revolutionised European opera, and to attention. Felsenstein’s vision of opera as Elzbieta Grabczewska Ingrid Hagan ß this day it remains an important point a form of musical theatre in which The APO is proud to support both New Zealand Rachel Moody Yang Rachel Guan Ebbett + of reference for the great majority of music and action are equally important Opera and the Royal New Zealand Ballet in Ainsley Murray musical theatre directors seeking to components of a production is combined their Auckland performances. It also works in Alexander Shapkin Contrabassoon be contemporary in their work. This by Kosky with the demand that musical partnership with many other arts organisations, Yanghe Yu Ruth Brinkman * inspirational international influence as a theatre should provide an experience including Auckland Arts Festival. Lucy Qi Zhang Horns trend-setter in innovative musical theatre which appeals to all the senses and which Yuri Cho Nicola Baker ß Through its numerous APO Connecting is reflected in the many artistic careers encompasses musical drama in all its Irina Lgotkina Emma Eden * which began at the Komische Oper Berlin forms, from the classic Mozart repertoire (education, outreach and community) initiatives, Second Violins Carl Wells # – including those of the directors Götz through to genre-defying projects. the APO offers opportunities to more than Dianna Cochrane ß Simon Williams # Friedrich and Harry Kupfer as well as the 20,000 young people and adults nationwide. David Kay conductors , , Since Barrie Kosky became Artistic Xin (James) Jin + Director of the Komische Oper Berlin, the William Hanfling # and Kirill Petrenko. More than 250,000 people hear the orchestra company has received numerous awards, Rae Crossley-Croft = MNZM live each year, in the concert hall and through Huw Dann ß In 2012, Barrie Kosky took over from among them Opernwelt’s “Opernhaus des Sarah Hart Josh Rogan # Andreas Homoki as the Artistic and General Jahres” (2013) and “Company of the Year” video live streams and radio broadcasts. Many Jocelyn Healy Director of the Komische Oper Berlin. at the International Opera Awards 2015. thousands more are reached through special Milena Parobczy events, recordings and other media. Ewa Sadag Douglas Cross ß Katherine Walshe Ben Lovell Green+ Lucia Siwy Bass Patrons Violas Timothy Sutton * Dame Kiri Te Kanawa, DBE, ONZ Robert Ashworth ß Dame Catherine Tizard, GCMG, David Samuel + Tuba GCVO, DBE, ONZ, QSO Christine Bowie # Tak Chun Lai * Anne Draffin # Sir James Wallace, KNZM, ONZM 1927 ARTS PROJECTS AUSTRALIA Helen Bevin Dame Rosanne Meo, DNZM, OBE Steven Logan ß London-based performance company 1927 Arts Projects Australia (APA) is an arts Gregory McGarity Vice Patron specialises in combining performance and and event management company which Susan Wedde Percussion Dame Jenny Gibbs, DNZM Eric Renick ß live music with animation and film to create operates as a producer and presenter of Cellos Jennifer Raven # magical filmic theatre. Celebrated at home high quality contemporary performing arts Auckland Philharmonia David Garner + Shane Currey and overseas, 1927 was founded in 2005 and events. Orchestra Board Liliya Arefyeva # by writer, performer and director Suzanne Geraint A. Martin (Chairman) Katherine Hebley Andrade with animator and illustrator Paul artsprojectsaustralia.com.au Harp Leigh Auton You Lee Ingrid Bauer * Barritt. In 2006 performer and costume Director Richard Ebbett James sang-oh Yoo designer Esme Appleton and performer, Ian Scobie AM Lope Ginnen Callum Hall Guest Musicians composer and musician Lillian Henley Pare Keiha Principal Cello, Alexei Romanenko joined, and in 2007 producer Jo Crowley Producer Kieran Raftery QC Basses Principal Clarinet, Jonathan Cohen began collaborating with the company. All Daniel Vorrasi Eric Renick Gordon Hill ß Principal Bassoon, Samantha Brenner four creative members of 1927 come from Julian Smith Annabella Zilber + different artistic backgrounds and it is the Administrator Evgueny Lanchtchikov # collaboration between these artists and the Di Farrell Chief Executive ß Section Principal Matthias Erdrich = Section Leader Emeritus complete integration of artistic disciplines Barbara Glaser Michael Steer Marketing Manager * Principal that has paved the way for 1927 to create its Eric Scholes + Associate Principal Nicola Prime unique, innovative and highly original work. # Sub-Principal

24 25 aaf.co.nz

Te Ahurei Toi o Ta¯maki Makaurau / Auckland Arts Festival is a place for CONTACT ambitious ideas by storytellers, provocateurs and creators. Ph: +64 09 309 0101 The Festival reflects our contemporary, cosmopolitan city with its many communities. Email: [email protected] It challenges artists and audiences to be bold and take a risk. Through the work of Level 5, Wellesley Centre artists of Aotearoa and across the world, we aim to inspire, provoke and entertain 44–52 Wellesley Street West the people of Auckland Ta¯maki Makaurau and our many visitors. PO Box 5419 Auckland 1141 A globally recognised celebration of art and culture taking place each March in New Zealand’s largest city, AAF will be presented for the 11th time in 2019. The Festival has attracted nearly two million visitors to date.

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Patron Head of Programming Technical Manager Marketing & The Governor General, Dolina Wehipeihana Nick Tomlin Communications Director Her Excellency Thierry Pannetier The Right Honourable Creative Associate Technical Administrator Dame Patsy Reddy, Tama Waipara Catherine Hart Marketing Manager Sally Woodfield GNZM, QSO Senior Programme Artist & Logistics Manager Board of Trustees Manager Megan Andrews Brand & Content John Judge (Chair) Steph Walker Creation Manager Artist Liaison Assistant Tim Wong Angela Clatworthy Programme Manager, Rina Patel Rick Carlyon Toitu¯ Te Reo Media & PR Manager Evan Davies Ngatapa Black Head of Staging Siobhan Waterhouse Sarah Judkins Andrew Gibson Tarun Kanji International Music Publicist Angela Watson Consultant Head of Lighting JP Bolton Fred Ward Declan Forde Abby Clearwater Marketing Assistant Chief Executive Creative Learning & Head of Sound Camila Araos Elevancini David Inns Community Engagement Sandy Gunn Marketing Intern Coordinator Head of AV Artistic Director Natasha Lay Stacey Mulholland Jonathan Bielski Simon Barker Programme & Partnerships Executive Business & Spiegeltent Site Manager Vanessa Morgan Access Coordinator Jamie Blackburn Finance Director Helen Winskill Shona Roberts Partnerships Assistant Production Manager Programme Coordinator, Carrie Rae Cunningham Accounts & Vicki Cooksley Wha¯nui Ticketing Manager Payroll Administrator Noma Sio-Faiumu Mirena Tomas Jillian Davey Project Assistant, Wha¯nui Ticketing Assistant Accounts Assistant Scotty Cotter Suzanne Watt Evan Phillips Programme Administrator, Executive Assistant Toitu¯ Te Reo Elizabeth Swinburn Founding Friends Whetu Silver Adrian Burr Office Manager Programme Coordinator, Graeme Edwards Gill Saker To¯ku Reo Waiata & TIRA Friedlander Foundation Aroha Rawson Dame Jenny Gibbs Pou Tikanga Sir Chris & Dayle, Lady Mace Eynon Delamere Creative New Zealand Pasifika Intern Haanz Fa’avae Jackson Access Programme Intern Ekta Kumar 27 Festival Supporters

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MESSIAEN’S TURANGALÎLA “It is music of uninhibited joy.” — THE GUARDIAN

Performed by the APO for the very first time!

A RARE EPIC CONCERT OF MESSIAEN’S ASTOUNDING MASTERPIECE OF 20TH-CENTURY ORCHESTRAL MUSIC, FEATURING OVER 100 PLAYERS ON STAGE.

23 March • Great Hall, Auckland Town Hall BOOK AT AAF.CO.NZ