Apo-Season-Brochure-2018.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Apo-Season-Brochure-2018.Pdf Auckland Philharmonia In more than 70 performances Concept & design annually, the APO presents a Orchestra is New Zealand’s full season of symphonic work full-time professional showcasing many of the world’s Metropolitan orchestra, finest classical musicians. Layout & print management serving Auckland’s Renowned for its innovation, passion and versatility, the communities with a APO collaborates with some of comprehensive programme New Zealand’s most inventive of concerts and education convtemporary artists. and outreach activities. The APO is proud to support Printing sponsor both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances. It also works in partnership with Auckland Arts Festival, the New Zealand International Film Festival, Paper sponsor the Michael Hill International Violin Competition and Auckland War Brochure printed on Sun Offset 120gsm; Memorial Museum, among other cover Neo Satin 300gsm organisations. Through its numerous APO Connecting (education, outreach and community) initiatives the APO Season photography offers opportunities to more than Adrian Malloch 20,000 young people and adults nationwide to participate in music Additional copywriting activities ranging from hip-hop and Alastair McKean rock to contemporary and classical. Official broadcast partner of the APO More than 100,000 people hear the orchestra live each year, with tens of thousands more reached through special events, recordings, live streams and other media. © Auckland Philharmonia Orchestra 2017 PATRONS Dame Kiri Te Kanawa, DBE, ONZ Dame Catherine Tizard, GCMG, GCVO, DBE, ONZ, QSO Sir James Wallace, KNZM, ONZM Dame Rosanne Meo, DNZM, OBE VICE PATRON Dame Jenny Gibbs, DNZM AUCKLAND PHILHARMONIA ORCHESTRA BOARD Geraint A. Martin (Chairman) Penelope Peebles (Deputy Chair) Leigh Auton Richard Ebbett Neil Haines Kieran Raftery Eric Renick Julian Smith CHIEF EXECUTIVE Barbara Glaser AUCKLAND PHILHARMONIA ORCHESTRA SOCIETY EXECUTIVE COMMITTEE Carl Wells (Secretary) Huw Dann (Chairman) Xin (James) Jin Martin Lee Timothy Sutton Susan Wedde WELCOME 02 WHAT’S EXCITING 04 THE NEW ZEALAND HERALD PREMIER SERIES 06 BAYLEYS GREAT CLASSICS 13 APO ON THE SHORE 17 VERDI’S AIDA 18 A WOMAN’S PLACE 21 APO DOES DISCO 23 JAMES MORRISON 24 SH-BOOM – APO & THE KOI BOYS 25 THE GRUFFALO & THE GRUFFALO’S CHILD 26 THE COMPOSER IS DEAD 27 UNWRAP THE MUSIC 28 IN YOUR NEIGHBOURHOOD 31 AUCKLAND ARTS FESTIVAL 32 MUSIC AT KELLIHER ESTATE 35 SHAKEN, NOT STIRRED 36 CELEBRATE CHRISTMAS 37 APO CONNECTING 39 MEET YOUR ORCHESTRA 42 SUPPORT YOUR ORCHESTRA 46 SUBSCRIBER INFO 50 HOW TO BOOK TICKETS 52 PLAN YOUR VISIT 55 2018: THE MUSIC 56 CONCERT CALENDAR 58 ACKNOWLEDGEMENTS 59 apo.co.nz 1 When I first came to Auckland as a guest conductor in 2012, I did not know what to expect from this intriguing, vibrant city on the harbour. Now, in my third year as Music Director, Auckland has become a musical home for me, and I am proud to present another exciting season of music in this great city. Our 2018 season is filled with riches; from the Baroque to today, from the celebrated works of the great masters to new music from New Zealand’s own extraordinary composers. I could not ask for a finer group of musicians with which to present this music, and it has also been a joy getting to know many of you, the orchestra’s wonderful family of supporters. I look forward to continuing with you on our musical journey in 2018. 2 Great cities around the world view the Guided by the artistic vision of Within these pages is an exciting quality and standing of their orchestra Giordano Bellincampi, we are proud and diverse season of music, as a measure of success. As one of that our 2018 season includes so many demonstrating how the APO continues Auckland’s largest and most prolific wonderful highlights. It is a season filled to be one of New Zealand’s most performing arts organisations, the APO with the welcome return of old friends treasured cultural assets. is a wonderful cultural ambassador for and some new musical adventures. our city on the world stage. Every year the APO enriches Auckland 2018 is also a significant year for New with more than 70 world-class Not only is a great orchestra a Zealand. It marks the 125th anniversary performances for over 100,000 people source of civic pride, it helps to make of women winning the right to vote, in the concert hall, as well as reaching Auckland an attractive location for the first country in the world to do so. tens of thousands more throughout talented people to live, work and We are proud to celebrate this with a New Zealand through live streams, play. It promotes meaningful, lifelong special concert, A Woman’s Place. special events, and its much-valued engagement with music which enriches We are grateful for the continued education and outreach programme. people’s lives. support of our many partners, particularly As the country’s Metropolitan our core funders Auckland Council, Orchestra, the value the APO I encourage you to attend the many Creative New Zealand, Foundation places on community engagement exciting APO concerts in 2018 and North, and Four Winds Foundation. alongside its concerts reflects its deep hear the great artistry of live orchestral commitment to enriching the cultural music. Auckland is the richer for having Thank you for giving us the opportunity fabric of New Zealand’s largest city. the APO as a world class orchestra. to share our love of music with you and for ensuring that it lives on in this We wish the APO a wonderful great city. 2018 season. Phil Goff Geraint A. Martin Barbara Glaser Stephen Wainwright Mayor of Auckland APO Chairman APO Chief Executive Chief Executive, Creative New Zealand apo.co.nz 3 I’m very excited to perform Rimsky- Alban Gerhardt is one of the finest Bach’s glorious St Matthew Passion Korsakov’s fantastical Scheherazade cellists around today and he is returning is one of music’s greatest treasures. with the outstanding Chinese to Auckland to bond with the APO. When I was young and first discovered conductor Xian Zhang. This piece The richness of his tone and his this work, I wore out my three-CD presents one of the greatest challenges superior artistry will dazzle me once set of the John Eliot Gardiner version for any concertmaster: creating again! With Gerhardt performing listening to the perfectly crafted irresistible story-telling through both one of the most popular and beloved chorales and sublime arias on repeat. technical and musical prowess, as if concertos of all time, Saint-Saëns’ It will be a joy to perform the Passion your life depended on it – literally! Cello Concerto No.1, followed by with wonderful Baroque expert Stephen Layton conducting. Andrew Beer Prokofiev’s fantastic Fourth Symphony, Concertmaster this is the concert that I am looking Camille Wells forward to most! Associate Principal Oboe Bayleys Great Classics: Russian Tales 7.30pm, Thursday 27 September James sang-oh Yoo The New Zealand Herald Premier Auckland Town Hall Cello Series: St Matthew Passion The New Zealand Herald Premier 8pm, Thursday 4 October Series: The Prodigal Son Auckland Town Hall 8pm, Thursday 30 August Auckland Town Hall 4 As a young trumpeter growing up Whenever Siegfried Idyll shows up I am truly excited for one particular in Australia, a highlight every year on a programme, I brace myself for concert in 2018. It features the was attending James Morrison’s an incredible challenge. It is such an Principal Clarinet of the Berlin ‘Generations in Jazz’ weekend. I can exquisitely delicate and tender piece of Philharmonic, Andreas Ottensamer, still remember seeing him perform for music. That Wagner welcomed his new- a stunning virtuoso with a sound to the first time. I was absolutely amazed born son to the world with it imbues it die for. He‘s playing Weber’s Clarinet and I’m sure this inspired me to pursue with raw emotion, while technically it Concerto No.1, a gem of the Romantic a career in music. It’ll be a real thrill to couldn’t be more intricate... it inspires repertoire, full of operatic themes share the stage with such an amazing me to be the best violinist I can be! and exciting passages that show off musician and wonderful entertainer. his amazing technique. Paired with Rachel Moody Shostakovich’s Fifth Symphony, it’s my Huw Dann Second Violin dream programme. Section Principal Trumpet Bayleys Great Classics: Love Letters James Fry James Morrison – A Celebration 7.30pm, Thursday 22 February Associate Principal Clarinet of Ella & Louis Auckland Town Hall 8pm, Thursday 16 August The New Zealand Herald Premier APO on the Shore: Bellincampi & ASB Theatre, Aotea Centre Series: Ottensamer plays Weber Mendelssohn 8pm, Thursday 21 June 7.30pm, Friday 23 February Auckland Town Hall Bruce Mason Centre, Takapuna apo.co.nz 5 Giordano BellincampiGiordano BELLINCAMPI. BAVOUZET. BEETHOVEN. 8pm, Thursday 15 February Auckland Town Hall Conductor Giordano Bellincampi Piano Jean-Efflam Bavouzet Eve de Castro-Robinson New work Beethoven Piano Concerto No.5, ‘Emperor’ Tchaikovsky Symphony No.5 Giordano Bellincampi opens the 2018 season with a new piece by the distinguished Auckland composer Eve de Castro-Robinson, a former Composer-in-Residence with the APO. Then a highlight of the season, the sensational French pianist Jean-Efflam Bavouzet. For his much-anticipated return to Auckland, he’s playing Beethoven’s grandest and most monumental concerto. Tchaikovsky’s tempestuous Fifth Symphony is an equally tremendous work. With emotion at its most raw and music at its most passionate, it’s the perfect start to a year of concert-going. Jean-Efflam Bavouzet (Photo: Ben Ealovega) 6 Antony Hermus Antony Christian Kluxen Christian ENIGMA NZ HERALD PREMIER SERIES 8pm, Thursday 19 April Auckland Town Hall The New Zealand Conductor Antony Hermus Violin Yanghe Yu Herald Premier Series Soprano Allison Bell is the APO’s flagship Tenor Henry Choo series.
Recommended publications
  • The Quest for the Long White Whale: Nature Imagery in New Zealand Classical Music
    THE QUEST FOR THE LONG WHITE WHALE: NATURE IMAGERY IN NEW ZEALAND CLASSICAL MUSIC Peter Beatson [An earlier version of this article appeared in Sites 22:34-53, 1991, and was reprinted with illustrations the following year in Canzona.] INTRODUCTION This article weaves together three intertwining threads. Firstly and most importantly, it is intended as a modest contribution to the academic study of New Zealand classical music. For a very small country, we have an impressive line-up of composers, of whom 105 are listed in John Mansfield Thomson's 1990 Biographical Dictionary of New Zealand Composers, yet the discursive content of their work receives far less analytical attention in sites of intellectual discourse than their literary colleagues. The present article is not intended as anything like a total survey, but I have attempted in its course to introduce the names of a significant number of composers and their works to indicate in purely quantitative terms the size of this rather under-valued component of our national culture. Here, then, is the first thread: putting it simply, I just wanted to write something about New Zealand classical music! However, that initial impulse was a little too vague, inchoate and open-ended. To limit the field, and to give the discussion manageable structure and direction, I made the strategic decision to focus on just one theme, namely the ways in which the natural world is represented in our national music. I will therefore not be discussing self-referential, abstract music with no aspirations to be anything other than a sonata, quartet, symphony or whatever, nor programmatic works (such as operas and songs) with subjects other than nature.
    [Show full text]
  • Apo Connecting 2016
    APO CONNECTING 2016 Education Community Outreach ABOUT THE APO Auckland Philharmonia Orchestra is New Zealand’s full-time professional Metropolitan orchestra, serving Auckland’s communities with a comprehensive programme of concerts and education and outreach activities. In more than 50 performances annually, the APO presents a full season of symphonic work showcasing many of the world’s finest musicians. The APO is also proud to support both NZ Opera and the Royal New Zealand Ballet in Auckland performances, as well as working in partnership with Auckland Arts Festival, Michael Hill International Violin Competition and Atamira Dance Company. Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive artists. Through its numerous APO Connecting (education, outreach and community) initiatives the APO offers opportunities to thousands of young people and adults nationwide to participate in music, ranging from hip-hop and rock to contemporary and classical. 100,000 people hear the orchestra live each year with many thousands more reached through special events, recordings and other media. CONTENTS Welcome 2 EXCITE 16 INSPIRE 22 Unwrap the Music Nurturing Talent – Artists IMPACT 4 – Beethoven’s Fifth Symphony – Masterclasses – Prokofiev’s Romeo and Juliet Suites – Open Rehearsals Ruaumoko – Dvořák’s Eighth Symphony Nurturing Talent – Performance – Auckland Dance Project Orchestral Summer School – Big Play In APOPS – Finale Concert – Chamber Music Showcase – Brass Showcase Discovery
    [Show full text]
  • Volume 1 Queens Wharf - Coastal Marine Area Panuku Development Auckland
    I hereby give notice that a hearing by commissioners will be held on: Dates: Monday, 18 February to Wednesday, 27 February 2019 Time: 9.30am (each day) Venue day 1: Reception Lounge, Level 2, Auckland Town Hall, 301 - 303 Queen Street, Auckland Venue days 2-8: Council Chambers, Ground Floor, Auckland Town Hall, 301 - 303 Queen Street, Auckland SUBMISSION AGENDA - VOLUME 1 QUEENS WHARF - COASTAL MARINE AREA PANUKU DEVELOPMENT AUCKLAND COMMISSIONERS Chairperson Kitt Littlejohn (Chairperson) Commissioners Trevor Mackie Juliane Chetham Sam Otter HEARINGS ADVISOR Telephone: 09 353 9587 or 021 196 2582 Email: [email protected] Website: www.aucklandcouncil.govt.nz 1 WHAT HAPPENS AT A HEARING At the start of the hearing, the Chairperson will introduce the commissioners and council staff and will briefly outline the procedure. The Chairperson may then call upon the parties present to introduce themselves to the panel. The Chairperson is addressed as Mr Chairman or Madam Chair. Any party intending to give written or spoken evidence in Māori or speak in sign language should advise the hearings advisor at least five working days before the hearing so that a qualified interpreter can be provided. Catering is not provided at the hearing. Please note that the hearing may be audio recorded. Scheduling submitters to be heard A timetable will be prepared approximately one week before the hearing for all submitters who have returned their hearing attendance form. Please note that during the course of the hearing changing circumstances may mean the proposed timetable is delayed or brought forward. Submitters wishing to be heard are requested to ensure they are available to attend the hearing and present their evidence when required.
    [Show full text]
  • Contemporary New Zealand Piano Music
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Contemporary New Zealand Piano Music: Four Selected Works from Twelve Landscape Preludes: Landscape Prelude, the Street Where I Live, Sleeper and the Horizon from Owhiro Bay Joohae Kim Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CONTEMPORARY NEW ZEALAND PIANO MUSIC: FOUR SELECTED WORKS FROM TWELVE LANDSCAPE PRELUDES: LANDSCAPE PRELUDE, THE STREET WHERE I LIVE, SLEEPER AND THE HORIZON FROM OWHIRO BAY By JOOHAE KIM A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 ! ! ! ! Joohae Kim defended this treatise on April 26, 2012. The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Evan Jones University Representative Joel Hastings Committee Member Heidi Louise Williams Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ! ""! ! ! Dedicated to my mother, Sunghae Cho (!"#) and my father, Keehyouk Kim ($%&) ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! """! ACKNOWLEDGMENTS I would like to express my sincere appreciation to four New Zealand composers, Mr. Jack Body, Mr. John Psathas, Mr. Gareth Farr and Ms. Jenny McLeod. I would not even be able to have begun this research without their support. I enjoyed so much working with them; they were true inspirations for my research. My greatest thanks goes to my major professor, Dr. Read Gainsford, for his endless support and musical suggestions.
    [Show full text]
  • Reinforced Concrete in the Architecture of Auckland's Town
    Concrete Complexities: Reinforced Concrete in the Architecture of Auckland’s Town Hall, Chief Post Office and Ferry Building Milica Madanovic University of Auckland Abstract Economic prosperity and the changed political circumstances resulted in increased building activity in the pre-First World War New Zealand. Auckland, the country’s largest city, was not an exemption. Queen Street, the main civic and mercantile axis of New Zealand’s capital of commerce, acquired three new landmark buildings, constructed simultaneously between the years 1909 and 1912. The three buildings – Auckland’s Town Hall, Chief Post Office, and Ferry Building – still remain important historic monuments of Central Auckland. Focusing on the materiality of the three buildings, this paper contributes to the study of early history of reinforced concrete in New Zealand. The relations between the innovative structural material and historicist architectural language of the three Queen Street buildings are discussed in context of the early 20th century socio-political and cultural circumstances. The paper demonstrates that there was no tension between the use of cutting edge construction technology for the structure and the Edwardian Baroque for the architectural envelopes of the three buildings. In fact, both the materiality and the architectural language were considered to be indicative of the development the city and the country were undergoing. Introduction The early 20th century marked a golden period in New Zealand history. The country’s economy was recovering from the 1880s and 1890s depression; the socio-cultural matrix was transforming as the old towns were growing; the transition of New Zealand from a colony into a dominion altered the political climate.
    [Show full text]
  • Pākehā Practice: Music and National Identity in Postcolonial Aotearoa/New Zealand by Liam Prince a Thesis Submitted to the Vi
    Pākehā Practice: Music and National Identity in Postcolonial Aotearoa/New Zealand By Liam Prince A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music in Musicology Victoria University of Wellington 2017 1 Abstract National discourses specific to Aotearoa/New Zealand — for example, biculturalism, which reimagines Māori-Pākehā relations as a partnership based on the Treaty of Waitangi — help to construct, express, and articulate connections between music and New Zealand identity. Yet unquestioned nationalisms — however benign or ‘official’ they seem — can marginalize some ways of being, knowing, organizing, and music-making, through their capacity to advance and reinforce undisclosed social values and political agendas. In this way, nationalism often disguises the consequences of those values and agendas. This thesis demonstrates how, by unproblematically invoking nationalisms for various purposes, significant New Zealand music-related institutions inadvertently reproduce Eurocentric national identity narratives which overlook the social, cultural, economic and political inequities of Aotearoa/NZ’s postcolonial present. Such narratives normalize conceptions of ‘New Zealand music’ dominated by historic and evolving cultural and economic connections between New Zealand society and the broader postcolonial Anglosphere. Consequently, identifications of ‘New Zealand’ culture and music often reflect dominant Pākehā norms, against which other musical traditions are contrasted. Several prominent ‘national’ institutions involved with music are examined through three cases studies. The first considers how state-supported music policies and agencies construct and legitimize economic, artistic and democratic ideologies as national values, and explores the consequences of a frequent failure to distinguish between a cultural identity, based on dominant Pākehā norms and values, and a culturally plural civic-based national identity.
    [Show full text]
  • Aotea Quarter Framework Chapter 2 PDF 1.9 MB
    39 OUTCOME 1 – THE CIVIC AND CULTURAL HEART The quarter core as the enduring home for Recent investment since the Aotea Quarter Plan and Action the arts, culture, entertainment and civic life, Plan (2010-2015) includes the upgrade of Aotea Square creating a unique destination experience. (2010) and the underground Civic Car Park, the award- winning redevelopment of Auckland Art Gallery (2011) and While the Aotea Quarter boasts an impressive array of development of the Q Theatre (2011). The Basement Theatre performing arts venues and cultural institutions, there has also had a significant upgrade over the last few years. This is more work that can be done to help deliver a living, investment is set to continue with the joint council and breathing, arts precinct, with vibrancy, creativity and design privately funded refurbishment of the St James Theatre now excellence The quarter core, defined as the zone within the underway. Mayoral Drive arc and including the Auckland Art Gallery, Creating a unique destination Toi O Tamaki has been the home to civic, arts, cultural and entertainment activities for well over 100 years. This role The future of the quarter core lies in the hands of a number has recently been reaffirmed through strategies including the of stakeholders, with Regional Facilities Auckland (RFA) being Aotea Quarter Plan 2007 and CCMP 2012. Internationally, a key stakeholder in the quarter. RFA owns, programmes investing in the creative and cultural industries has proven and manages more than $1 billion worth of major regional to bring significant economic and social benefits. Cities facilities and landmark venues across the city.
    [Show full text]
  • Auckland Art Gallery Toi O Tāmaki
    CONTENTS 1 HAERE MAI & WELCOME 2 AOTEA CENTRE 4 AUCKLAND ART GALLERY TOI O TĀMAKI 6 AUCKLAND TOWN HALL 8 AUCKLAND ZOO 10 BRUCE MASON CENTRE 12 MT SMART STADIUM 14 NORTH HARBOUR STADIUM 16 SHED 10 18 THE CIVIC 20 THE CLOUD 22 VENUE LOCATION MAPS 24 OUR SERVICES WELCOME TO AUCKLAND CONVENTIONS VENUES & EVENTS As custodians of New Zealand’s largest portfolio of iconic venues, we are proud to offer a range of unique world-class venues for extraordinary events in Auckland. Facilitating and delivering exceptional events is our passion. Whether your meeting, conference, exhibition, gala dinner or awards ceremony is for 20 or 2,000 people, choose from more than sixty versatile spaces to suit any occasion. With a specialised and dedicated team, every detail is looked after with care to ensure the seamless delivery of each event. 1 AOTEA CENTRE FEATURES Auditorium seating for over 2,000 Flexible spaces to suit all event styles Multiple breakout rooms Central Auckland location Close proximity to The Civic carpark MULTI-PURPOSE FLEXIBLE CONVENTION CENTRE AOTEA CENTRE The Aotea Centre houses New Zealand’s largest modern tiered auditorium, seating more than 2,000 people over three levels. Whether you are holding a conference, seminar, exhibition, awards ceremony, product launch, cocktail party or gala dinner, the Aotea Centre has a space to suit. 2 AUCKLAND CONVENTIONS Venues & Events LEVEL 5 AOTEA CENTRE 11 3 Aotea Centre’s stylish new interior provides a fitting 10 2 1 backdrop for conferences, dinners, exhibitions and LEVEL 4 9 8 7 LEVEL 2 tradeshows. The open design, expansive foyers 6 and function spaces make it an ideal place for LEVEL 3 5 collaboration and business gatherings.
    [Show full text]
  • Auckland Council Annual Report 1 July 2011 to 30 June 2012 498 Part IV: People, Engaging with Our Communities & Sustainability
    Part IV: People, engaging with our communities & sustainability PEOPLE, ENGAGING WITH OUR COMMUNITIES AND SUSTAINABILITY Our people 499 Engagement with our communities 505 Sustainability 524 Global reporting initiative 530 Auckland Council Annual Report 1 July 2011 to 30 June 2012 498 Part IV: People, engaging with our communities & sustainability PART IV PEOPLE, ENGAGING WITH OUR COMMUNITIES AND SUSTAINABILITY OUR PEOPLE INTRODUCTION We commenced the year with a full plan of work to continue the transition from eight organisations to the new council. Across the organisation, our employees have worked hard to deliver on the work plan and have made significant progress. Now that the bulk of this is behind us, we are able to focus on transforming our organisation to become the council that delivers on its promise of making Auckland the world’s most liveable city. PUTTING THE BUILDING BLOCKS IN PLACE Most of the activities within human resources over the first part of the year, focused on continuing to streamline and simplify the multiple processes and systems from the legacy councils. For example, by working with both employees and the unions represented at Auckland Council, we were able to reduce our annual payroll runs from 268 in our first year of operation, to 78 payroll runs a year. Creating a consistent approach to how we handle EMPLOYMENT RELATIONS remuneration across the organisation was a priority for the 2011/2012 year. The successful conclusion The 2011/2012 year saw significant process in Auckland of the negotiation with the PSA on the remuneration Council's industrial relations. In October 2011, Doug framework in April 2012 allowed us to put this in Mackay and Richard Wagstaff, National Secretary for the place for our remuneration review for this year.
    [Show full text]
  • Douglas LILBURN a Song of Islands Aotearoa Overture • Forest
    557697bk USA 4/7/06 10:28 pm Page 4 repertoire as diverse as Elgar (three discs), Ferdinand Ries, Beethoven, Bernstein, Copland, Lilburn, Sculthorpe, Frank Bridge, Akutagawa, Mendelssohn, Honegger, Liszt, and Vaughan Williams. Over half a million of these CDs have been sold internationally in the last decade and they have received critical acclaim. NZSO discs Douglas (Hummel, Elgar and Bernstein) were chosen for the Editor’s Choice section of The Gramophone in 2004. For further information visit www.nzso.co.nz LILBURN James Judd Music Director of the New Zealand Symphony Orchestra, the British-born conductor James Judd is also the Principal Guest Conductor of the Orchestre National de Lille in France. Within a period of seven years as Music Director in New Zealand, he has embarked on an unprecedented number of recordings with the orchestra for the A Song of Islands Naxos label, including works by Copland, Bernstein, Vaughan Williams, Gershwin and many others. He has brought the orchestra to a new level of visibility and international acclaim through appearances at the 2000 Summer Sydney Olympic Arts Festival, the 2003 Auckland International Arts Festival, the Osaka Festival of International Aotearoa Overture • Forest Orchestras as well as a specially televised Millennium Concert with Kiri Te Kanawa as soloist. He will lead the orchestra on its first ever tour of the major concert halls of Europe culminating with a début appearance at the BBC Proms in the summer of 2005. A graduate of London’s Trinity College of Music, James Judd came to international New Zealand Symphony Orchestra attention as the Assistant Conductor of the Cleveland Orchestra, a post he accepted at the invitation of Lorin Maazel.
    [Show full text]
  • Auckland Live Digital Stage Content Guidelines and Technical
    AUCKLAND LIVE DIGITAL STAGE CONTENT GUIDELINES AND TECHNICAL SPECIFICATIONS — FEBRUARY 2020 2 Auckland Live Digital Stage Content Guidelines and Technical Specifications CONTENTS 1. INTRODUCTION 4 Location 4 Hours of operation 5 Objectives 5 Content Streams 5 2. CONTENT REQUIREMENTS AND PRIORITIES 6 Preferred content 6 Preferred providers 6 Audio 6 Language 6 Length 6 Appropriacy of content 6 Audience 6 Submitting content to Auckland Live 6 Schedule 7 Management of public enquiries/proposals/comments 7 Contact 7 3. TECHNICAL SPECIFICATIONS 8 Video 8 Audio 8 Subtitles 8 Screen 9 Interactive content 10 4. GRAPHICS 12 This document is for external content providers and interested parties. Auckland Live reserves the right to change these guidelines from time to time at its discretion. Auckland Live Digital Stage Content Guidelines and Technical Specifications 3 1. INTRODUCTION Auckland Live is New Zealand’s largest platform for live arts and entertainment. Its venues and iconic places, which include the Aotea Centre, Aotea Square, Auckland Town Hall, The Civic, Queens Wharf and the Bruce Mason Centre, are the stages for presenting a programme of world-class live performances, international companies, and local artists and arts communities. The Auckland Live Digital Stage (“Digital Stage”) is an The Auckland Live Digital Stage Content Guidelines extension of our traditional stages, through which we and Technical Specifications are for external content champion and support new and existing works in dance, providers considering making a submission of content music, visual arts, theatre, and film in the heart of the and interested parties. All submitters of content are Aotea Arts Quarter. expected to be familiar with this document before making a submission.
    [Show full text]
  • Auckland City Heritage Walks >
    Heritage Walks Aucklandƒ 6/1/05 5:31 PM Page 3 AUCKLAND CITY HERITAGE WALKS > DOWNTOWN, MIDTOWN, UPTOWN N T BEACH RO DRIVE DRIVEDRIVE Heritage Walks Aucklandƒ 6/1/05 5:31 PM Page 4 AUCKLAND CITY HERITAGE WALKS DOWNTOWN, MIDTOWN, UPTOWN THESE TRAILS WILL EACH TAKE APPROXIMATELY AN HOUR AND A HALF TO WALK. MAIN FEATURES OF THESE WALKS INCLUDE: DOWNTOWN: Auckland’s historic waterfront, the original foreshore, key places, people and uses associated with the harbour, wharves and port and developments in public transport. MIDTOWN: Some of Auckland’s earliest commercial buildings, the earliest street network in the city and a compact snapshot of historical and architectural development in Auckland from the Colonial period through to the twenty-first century. UPTOWN: The entertainment, cultural, civic and retail hub of Central Auckland including outstanding theatres, the Auckland Art Gallery and Town Hall. These areas include a significant number of buildings and elements that are registered by the New Zealand Historic Places Trust or scheduled in the Auckland City Council’s District Plan as being of heritage value. Items that are registered or scheduled are identified within this brochure using the following key: AUCKLAND CITY COUNCIL DISTRICT PLAN SCHEDULED IN CATEGORY A: A Buildings, objects and places of outstanding natural beauty, or architectural, scientific or historical significance well beyond their immediate environs. Demolition of a Category A Item is a prohibited activity. SCHEDULED IN CATEGORY B: B Buildings, objects or places of such quality and character that they should not be removed, damaged or altered significantly. NEW ZEALAND HISTORIC PLACES TRUST REGISTERED IN CATEGORY I: I Places of special or outstanding historical or cultural heritage value.
    [Show full text]