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Home , Andy Foster (politician), Barrie Kosky, Belshazzar (Handel), Bic Runga, Dave Dobbyn, Heather Begg

Fame and immortality come to church

OCT-NOV 2020 NZOPERA NZOPERA SEMELE 202003

Picturing the story of Semele in art

The story of Semele and of her ultimately fatal love for Jupiter appears frequently in art from the sixteenth century through until the end of the nineteenth century. Over this long period and depending on the medium in which the story is represented, different aspects of the myth are emphasised. As a result, different meanings are conveyed.

On a hand-painted majolica plate, [fig. 1], intended to flatter the owner’s classical we see, on the left, Semele conversing erudition. with the jealous Juno disguised as Semele’s sister Ino. Juno appeals to By the end of the nineteenth century, Semele’s vanity and persuades her to we find a very different interpretation of entreat her lover Jupiter to show himself the Semele story. The French Symbolist in his divine form, knowing that in doing painter Gustave Moreau’s spectacular so Semele will be destroyed. large oil painting [fig. 2] depicts Jupiter as a fantastical hybrid Graeco-Hindu Fig. 1 Workshop of Guido Durantino, Urbino. Fig. 2 Gustave Moreau, Majolica plate. 1535. Tin-glazed earthenware. Jupiter and Semele, 1895. On the right half of the plate Jupiter God. He sits motionless and impassive London: British Museum. © Trustees of the Oil on canvas. Paris: descends on the sleeping Semele. In one while Semele lies supine at his knee. British Museum Musée Gustave Moreau. hand he carries a lightning bolt but in the Blood red rays emanate like a Christian © Wikimedia Commons other he holds a coat of arms. The arms halo from Jupiter’s head and are picked belong to Anne de Montmorency (1493- up by the bloody wound on her side. 1567), Grand Master of during When Moreau was asked what it all the reign of François I and for whom the meant, he wrote that his vision was to plate was made in Urbino in 1535. This depict the human desire to escape from is just one of about twenty surviving corruptible flesh and blood into the pieces of a dinner service. Each piece is immortal realm of pure spirit. painted with a different scene from , so collectively they were David Maskill

02 NZOPERA SEMELE 2020

Tena koutou

Buying a ticket for Semele, I would like to acknowledge our key reading this programme stakeholders in supporting us through and enjoying an unprecedented and uncertain times to “Endless pleasure, endless love, a place we can now stage opera around performance live, together, in 2020. I also thank Semele enjoys above! means so much to this the opera ecosystem for rising to the On her bosom Jove reclining, Company. It is the realisation challenge and supporting the industry of careful planning, logistical through their own artists’ recitals. Useless now his thunder lies; rebooting, and sheer It is now your support that we need To her arms his bolts resigning, determination to provide more than ever. This is important for the opera for you, and jobs for our work we do, and the people we connect And his lightning to her eyes.” singers and creatives. through reimagining opera on a national scale. Semele, Act I We have held our breath, reworked Mō tātou, ā, mō kā uri a muri ake nei budgets during lockdown, and followed For us and our children after us protocols and updates, as you will have. This performing edition published We have seen digital offerings flood by Peter Jones has been supplied in from around the globe which have by Clear Music Pty Ltd. brought great joy. They highlighted the need for us to increase our own film Annabel Holland archives - hence our ‘Voice your Support’ New Zealand Opera Chair campaign. This will enable us to provide opera to more New Zealanders; I particularly enjoyed watching the Mother’s Day aria serenades and the Please note: Information is correct at the time of printing. New Zealand TVNZ1 screening of Tosca. Opera reserves the right to make alterations to the cast as required due to unavoidable circumstances. Use of cameras, mobile phones and record- ing devices is strictly prohibited. Latecomers will not be admitted until a suitable break in the performance.

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Director’s Notes Conductor’s Notes The history of religions reaches down and makes contact with that which is essentially human: the relation of man (sic) to the sacred. The history of religions can play an extremely important When Handel first ventured into English Handel’s friend, Mary Delany, loved it but role in the crisis we are living through. The crises of modern man (with in 1732) he wrote in her diary that her husband, the (sic) are to a large extent religious ones, insofar as they are an expected it to be staged. His plans were Rev Dr Patrick Delany, ‘does not think it proper for him to go’ because of its awakening of his (sic) awareness to an absence of meaning. thwarted by a grumpy Bishop of London. When, a few years later, Italian opera in ‘profane’ story. From one point of view, Mircea Eliade London fell out of vogue (victim to the Handel uses the magnificent apparatus persistent barrage of satirical writing of his sacred in the service Handel’s Semele was designed for It now seems strange to me that the from Jonathan Swift, Alexander Pope, of, - on the face of it - a very un-Christian presentation “in the manner of an last time I conceived and directed this Joseph Addison and others) Handel comedy. oratorio”. An oratorio is by its nature not work was in the immediate aftermath returned to English-language oratorio. only a concert work but also a religious of the Global Financial Crisis in . But as Thomas de Mallet Burgess one. However, Handel’s choice of subject I witnessed first-hand how a deeply While the Bishop of London’s rules observes, the drama explores themes is quite secular. Its plot, full of rivalries spiritual nation had sold its collective still applied, Handel never stopped of hubris and greed that seem very and romantic relationships, has as much soul to Mammon. When the collapse regarding this as a dramatic genre. contemporary indeed. Perhaps Dr to do with The Crown as any religious came it left a trail of destruction in ( – written for a particular Delany might, after all, have got some drama. And its character-based narrative peoples’ lives and a Government that situation in Dublin – is an exception in inspiration for his sermons had he drive pushes us to consider it more as was insolvent. An event that shook the this regard.) Handel oratorio is dramatic. ventured into the theatre. opera than an oratorio. Thus, contained country to its financial and spiritual core. It has all the elements of opera (the in the very form of the work, there is a And one from which it has still not fully action carried forward in deftly-paced Peter Walls tension between the spiritual and the recovered. and emotional states explored Conductor material, heaven and earth, the sacred in beautiful and often dazzling da capo and the profane. This explains the choice This time around (and I could not have arias) but with a greatly enhanced role of a cathedral for the staging of this predicted it when programming the for a dramatic chorus and an English- production. In choosing to stage Semele work) we are in the midst of a global language on a sacred subject here we are supporting the metaphysical apocalypse that is questioning our (think , , , Jeptha). tension within it. This location also overreaching ambitions as a species. But Semele? (librettist provides an ideal architecture for the The current pandemic is giving for Messiah) complained that Semele creative team to explore the tensions humanity a crash course in apocalypse was ‘no oratorio, but a baudy opera’. within concert and music-theatre styles management. Like climate disruption, it’s of presentation. global and it’s deadly.

Semele explores what happens when Semele is us. ambition overreaches itself having acquired sudden wealth, power and privilege. As such it represents the oldest and most contemporary of stories. Thomas de Mallet Burgess Director

07 08 The 2020 Ryman Dame Foundation Mina Foley Award ThThee 20 202020 Ry Rymanman Da Dameme M aMalvinalvina M aMajorjor Fo Foundationundation M Minaina Fo Foleyley A wAwardard Semele NZOPERA 10 Samoan tenor Amitai Pati is this year’s Ryman Dame Malvina Major Samoan tenor Amitai Pati is this year’s Ryman Dame Malvina Major FoundationSamoan Mina tenor Foley Amitai Award Pati isrecipient this year’s making Ryman his Damerole and Malvina company Major Foundation Mina Foley Award recipient making his role and company debutFoundation as Jupiter/Apollo Mina Foley with Award New Zealandrecipient Opera making's 20 his20 role produc�on and Company of debut as Jupiter/Apollo with New Zealand Opera's 2020 produc�on of Handel'sdebut Semele as Jupiter/Apollo. with New Zealand Opera's 2020 production of Handel'sHandel's Semele Semele.. Earlier this year Amitai made his European debut as Nadir in a concert EarlierEarlier this this year year Amitai Amitai made made his his European European debut debut as asNadir Nadir in ina concert a concert performance of Bizet’s Les pêcheurs de perles presented by Les Grandes performanceperformance of ofBizet’s Bizet’s Les Les pêcheurs pêcheurs de perlesde perles presented presented by Lesby Les Grandes Grandes Voix at the Philharmonie in Paris. French critics said of his performance, VoixVoix at atthe the Philharmonie Philharmonie in inParis. Paris. French French critics critics said said of hisof his performance, performance, “Amitai Pati performs a moving Nadir, endowed with a superb tenor voice, “Amitai“Amitai Pati Pati performs performs a movinga moving Nadir, Nadir, endowed endowed with with a asuperb superb ten tenoror voice, voice, ideal in the role” (Toute la culture). In addition Amitai made his Canadian idealideal in thein the role” role” (Toute (Toute la laculture). culture). In In addition addition Amitai Amitai made made his his Canadian Canadian debut this past season appearing as the tenor soloist in Verdi’s Requiem debutdebut this this past past season season appearing appearing as theas the tenor tenor soloist soloist in Verdi’ in Verdi’ss Requiem Requiem with the National Arts Centre Orchestra under Alexander Shelley. Amitai withwith the the National National Arts Arts Centre Centre Orchestra Orchestra under under Alexander Alexander Shelley Shelley.. Amitai Amitai will also join the Philharmonia Orchestra, CAL Performances in willwill also also join join the the Auckland Auckland Philharmonia Philharmonia Orchestra, Orchestra, CAL CAL Perform Performancesances in in Berkeley California, the Trondheim Symphony Orchestra in and BerkeleyBerkeley California, California, the the Trondheim Trondheim Symphony Symphony Orchestra Orchestra in inNorway Norway and and Hawaii Opera Theatre. Amitai, with his brother Pene Pati and their cousin HawaiiHawaii Opera Opera Theatre. Theatre. Amitai, Amitai, with with his his brother brother Pene Pene Pati Pati and and t heirtheir cousin cousin Moses Mackay, comprise the highly successful New Zealand vocal trio MosesMoses Mackay, Mackay, comprise comprise the the highly highly successful successful New New Zealand Zealand vocal vocal trio trio SOL3 MIO, which mixes both classical and contemporary music. SOL3SOL3 MIO, MIO, which which mixes mixes both both classical classical and and contemporary contemporary music. music.

Amitai Pati The TheRyman Ryman Dame Dame Malvina Malvina Major Major Foundation Foundation Mina Mina Foley Foley Award Award is in is in Amitai Pati The Ryman Dame Malvina Major Foundation Mina Foley Award is in memorymemory of the of Newthe New Zealand Zealand soprano soprano who who died died in 2007 in 2007.. Mina Mina Foley Foley was was a a memory of the New Zealand soprano who died in 2007. Mina Foley was a hugelyhugely promising promising talent talent who who cap�vated captivated local local audiences audiences in the in 19the50s 1950s and and hugely promising talent who cap�vated local audiences in the 1950s and was wasthe firstthe firstsinger singer trained trained by Auckland by Auckland teacher teacher Dame Dame Sister Sister Mary Leo,Mary Leo, was the first singer trained by Auckland teacher Dame Sister Mary Leo, whowho also also taught taught Dame Dame Malvina Malvina Major, Major, Dame Dame Kiri KiriTe KanawaTe Kanawa and and Dam Damee who also taught Dame Malvina Major, Dame and Dame HeatherHeather Begg. Begg. Sadly, Sadly, Mina Mina was wasnever never able able to achieve to achieve her herfull fullpoten�al potential as a as Heather Begg. Sadly, Mina was never able to achieve her full poten�al as a singera singer due to due poor to health,poor health, but her but rela�vely her relaƟvel shorty shor careert caree wasr waremarkables remarkable singer due to poor health, but her rela�vely short career was remarkable nonetheless.nonetheless. nonetheless. dmmfoundation.org.nz dmmfounda�on.org.nz dmmfounda�on.org.nz

Proud supporters of New Zealand Opera’s Dame Malvina Major Foundation Studio Artists programme and the Ryman DMMF Mina Foley Award.

© Simon Watt © David Rowland

Help us realise the potential of New Zealand’s best young talent. Donate now at dmmfoundation.org.nz

dmmfoundation NZOPERA We arSemelee proud to support 13 The Freemasons New Zealand Opera Chorus

Musical Performance in Cathedrals in New Zealand

New Zealand’s sixteen While there remains an emphasis NZOF ad cathedrals perform exquisite on sacred music in performances in cathedrals, a wider range of classical music within their services. and popular repertoire is being approved, They also host a range of other including works of local composers, performance events. such as David Hamilton’s Erebus in Holy Trinity Cathedral Auckland (2016), and Cathedrals began hosting concerts of events like the Acoustic Church tour with sacred music outside of church services popular musicians including in the 1960s, such as Brubeck’s oratorio and (2004-2013). Light in the Wilderness at Holy Trinity Cathedral Auckland (1969). There were Before Semele, only a handful of also dramatic performances of religious have been performed in New Zealand works, continuing the long tradition of cathedrals. These include Academy medieval nativity and passion plays: Opera’s La Clemenza di Tito by Mozart Theatre Guild’s York Nativity Play in St in the Catholic Cathedral, Mary’s Cathedral, Parnell (1965), and (1986), and their concert version of Britten’s musical drama The Burning Fiery Handel’s in the Christchurch Furnace in the Holy Trinity Cathedral Anglican Cathedral (1987). Auckland City (1970). The boundaries of what was Opera staged Handel’s in considered musically acceptable were Holy Trinity Cathedral (1998), and Days moving: in 1981, the rock opera Joseph Bay Opera performed Donizetti’s Maria and his Amazing Technicolor Dreamcoat Stuarda at the Cathedral of the Sacred was staged by Opera-Technique in St Heart in (2012). Paul’s Cathedral in Wellington. Lynley Stone

11 www.freemasonsfoundation.org.nz NZOPERA Semele 14 NZOPERA Semele SEMELE 202015

ACT I Juno swears vengeance, and hastens to himself, the mighty Thunderer’). Semele visit Somnus, the god of sleep, to enlist eagerly accepts this advice. Juno It is the wedding day of Semele and his aid. departs when she senses the approach Athamus, and their families have come of Jupiter. to the Temple of Juno for the marriage Semele wakes and yearns for Jupiter. ceremony. As Semele’s father, Cadmus, He arrives in human form and reassures Inflamed by desire for Semele, Jupiter is escorts her down the aisle, the Priest her of his fidelity. He reminds her that astonished when she acts coldly toward proclaims that the omens for the she is only mortal and needs time to him. He rashly swears an irrevocable marriage seem propitious. But all is not rest between their bouts of lovemaking. vow to grant her whatever she desires, well. Semele does not love Athamus Semele professes devotion to him but and she demands that he visit her in and has been inventing one excuse after reveals her discontent that she has not his natural guise. He reacts with horror, another to delay the wedding because been made immortal. Sensing Semele’s knowing that his lightning bolts will she is secretly in love with Jupiter. dangerous ambition, Jupiter magically certainly kill her, but Semele refuses to summons her sister Ino to keep her listen to reason, assuming that Jupiter She pleads to Jupiter for help, and his company. does not wish to grant her immortality. thunder interrupts the ceremony and Left alone, Jupiter tries to find a way to extinguishes the flames on the altar save the life of Semele, but dejectedly of Juno, his wife. The Priests advise ACT III realises that ‘She must a victim fall’. everyone to leave. The despairing Juno gloats in triumph at her victory. Athamus and Semele’s sister, Ino, The cavernous dwelling of Somnus is Semele sees Jupiter descend as a fiery remain behind. rudely disturbed by the arrival of Juno cloud of lightning and thunder and dies Synopsis and Iris. He lethargically refuses to consumed in flames. Cadmus returns with the shocking help Juno but is enlivened when Juno news that Semele, surrounded by azure promises him the reward of his favourite Ino, safely returned, announces the flames, has been abducted by a giant nymph, Pasithea, and he relents. tragic news that Semele has perished. Handel’s Semele is presented over three parts eagle, ‘On purple wings descending’. Juno orders Somnus to give Jupiter However, some good has come of The Priest identifies this eagle as having an erotic dream that will make him it: Jupiter has ordained that Ino and and was first performed on 10 February 1744, been Jupiter, and Semele is heard desperate to enjoy Semele. Juno takes Athamus must be wed, and Apollo Covent Garden Theatre, London. singing ‘Endless pleasure, endless love, Somnus’s magical lead rod in order to prophesises that from Semele’s ashes Semele enjoys above’. beguile the dragons and Ino to sleep. Bacchus, god of wine and unborn child Assuming the form of Ino, she pretends of Semele and Jupiter, will arise to bring to believe that Semele has been made to the earth a delight ‘More mighty than ACT II immortal, and gives Semele a magical Love’. mirror that deceives the girl into seeing Juno, Jupiter’s wife, angered at her a more glorified version of herself. husband’s adultery, orders her messenger Juno advises that if Semele wishes to Iris to discover where Jupiter and Semele become truly immortal then she must are. Iris reports that Jupiter has built his refuse Jupiter sexual favours until he new mortal lover an elaborate new palace promises to grant any wish she desires, on Mount Cithaeron, guarded by fierce and that she must request that he come 13 dragons that never sleep. The enraged to her in his true, undisguised form (‘like 14 NZOPERA SEMELE 202017

Special Thanks

Credits Maria Beer, Holy Trinity Cathedral. Audio Described Aotearoa Ltd. Jennifer Ward-Lealand CNZM - Intimacy Director New Zealand Opera would like to acknowledge Creative Team Production Team New Zealand Opera Creative New Zealand for funding Baroque Orchestra compensation payments to domestic artists Composed by T e c h n i c a l & P r o d u c t i o n M a n a g e r and contractors, as well as New Zealand Opera G.F. Handel Hemi Wi-Piti Concertmaster Foundation and Canterbury Opera Foundation Peter Clark for funding compensation payments to Libretto by Company Manager international artists, in lieu of the postponed William Congreve Inge Teunissen / Carla Parry Violin 1 season. of . Anne Löser Conducted by Stage Manager Peter Walls Entertainment Production Services Violin 1 Peter Clark We are grateful to St Luke’s Church, Remuera, Ltd: Vicki Cooksley Rebecca Struthers for the loan of the Betty Stewart Chamber Directed by CONCERTMASTER Thomas de Mallet Burgess Deputy Stage Manager Violin 2 Organ and would like to thank the Rev Glynn & Jacqueline Coats Youra Hwang Miranda Hutton Cardy and the organist, Stephen Vincent. For the past decade, violinist Peter Clark Designed by Assistant Stage Manager Violin 2 has been touring and guest-directing Lastly, huge thanks to the organisations and Tracy Grant Lord Michael Clark Amelia Giles ensembles worldwide. Considered one individuals who helped us raise enough money Lighting designed by Head Mechanist Violin 2 of the most dynamic young leaders and to film this production of Semele. Capturing Jo Kilgour Entertainment Production Services Fiona Haughton directors in Australia today, Peter is known Semele digitally will enable us to bring this for the energy he brings to his directing Ltd: Andrew Gibson Viola production to opera lovers around New Zealand Chorusmaster and the engaging nature of his leadership. Wen Chuan Lin and will also preserve it for posterity. Four Andrew Crooks Assistant Head Mechanist His first performance in Carnegie Hall was Winds, Pub Charity and NZCT all made Craig Wilkinson Viola with the Australian Chamber Orchestra and Principle Répétiteur contributions to the recording of Semele, as well Alison Salmons Andreas Scholl at the age of twenty. David Kelly Head of Lighting as some 40 individuals from around New Abby Clearwater Cello/Continuo Zealand, who made generous donations to our As concertmaster, Peter performs Lighting Systems Technician James Bush campaign, Voice Your Support. regularly with Victorian Opera, Zachary Howells Cast Cello Chamber Opera, Handel in the Theatre, Head of Wardrobe Imogen Granwal Darwin Symphony Orchestra, Ensemble We thank you all. Semele Sophie Ham Double Polyphème, the Orchestra of St. James, and Emma Pearson Inventi Ensemble, amongst others. Principal Wardrobe Construction Supervisor Malcolm Struthers Jupiter/Apollo roles held include with RTÉ Orchestra Sara Whittaker Oboe Amitai Pati (Dublin), Australian Romantic and Classical Wardrobe Assistant Kamala Bain Orchestra, and Orchestra of the Antipodes. Juno/Ino Bridget Brian, Charlie Baptist Recorder Sarah Castle Head of Wigs and Makeup Jessica Shaw Equally at home on modern and period Cadmus/Somnus instruments, Peter appears with Pinchgut Charlie Oswin Bassoon Paul Whelan Opera, Van Dieman’s Band, Ironwood Deputy Head of Wig s a n d M a k e u p Ben Hoadley Ensemble, Ludovico’s Band, Muffat Athamas Karina Jonassen Horn/Trumpet Collective and Accademia Arcadia. His Stephen Diaz Wigs & Makeup Assistants Gordon Lehany recent festival appearances include Thy Iris Chamber Music Festival (Denmark), Abi Taylor, Stephanie Sharp, Horn/Trumpet Chelsea Dolman Freya de Raadt Aldeburgh Festival (UK), Canberra Peter Reid International Music Festival, Brisbane Priest Properties Builder Timpani Baroque Festival, Canowindra Baroque Sashe Angelovski Grant Reynolds Yoshiko Tsuruta Music Festival, the Banff Centre (Canada), Chorus AV & Projection Harpsichord/Continuo and the Peninsula Summer Music Festival Freemasons New Zealand Lotech Media: Simon Barker-Director Douglas Mews (Victoria). Opera Chorus Production & Comms Technician Supers Through his work with the Australian Choir Bryce Holmes William Clark Chamber Orchestra, Peter has developed Holy Trinity Cathedral Choir Projection Operator Junior Misimoa a beloved music outreach program at Khalid Parkar Leon Liu ’s Royal Children’s Hospital, now Ramzi Rahman Surtitles Operator in its sixth year. Laura Patterson Peter also performs regularly with his New Zealand Stunt School partner, esteemed New Zealand violinist 15 Pai Pai, Jess Howse Jessica Oddie. 16 NZOPERA SEMELE 2020

Creative Team

Among the operas he has conducted Acting Handbook” (published Routledge) Fringe Festival, NIMBY Opera (Wellington), Tracy made her North American debut are Handel’s , Monteverdi’s Orfeo, and a regular visiting artist at conservatories Little Dog Barking Theatre Company, in 2017 with ’s The Barber Mozart’s , Marriage of Figaro, worldwide. His strong commitment to the Wanderlust Opera, and Toi Whakaari: of Seville for Seattle Opera and in 2019 Magic Flute, Gluck’s Orfeo ed Euridice and role of the arts in encouraging communities NZ Drama School, winning a number she premiered two new full-length ballet Paride ed Elena, Verdi’s and La to find their voice has resulted in a sustained of awards along the way. works: Liam Scarlett’s Dangerous Liaisons Traviata, and Puccini’s Suor Angelica and history of collaboration with the Learning for Queensland Ballet and Texas Ballet Gianni Schicchi. He has conducted many and Participation programmes of major Jacqueline has also written and created Theatre and Ma Cong’s Tchaikovsky: The premieres of New Zealand works, including organisations in the UK, including English several original music theatre pieces which Man Behind the Music for Tulsa Ballet Ross Harris’s Tanz der Schwäne and Jack Touring Opera (where he pioneered a three- have toured the country, featuring in a Theatre and designed new productions Body’s Alley (for the 1998 International year programme on music with the Deaf number of regional festivals. She has a of The Turn of the Screw for New Zealand Community). passion for theatre and opera for young Opera and The Audience for Auckland Festivals of the Arts). Peter has directed people and in 2014, directed Benjamin Theatre Company. “Close Encounters” programmes with the Before moving to New Zealand he founded Britten’s Noye’s Fludde for NZO, which New Zealand Symphony Orchestra and Lost & Found Opera in Perth, hailed as “the involved over 100 primary and secondary Current productions underway are been Music Director of Opus Orchestra nation’s most innovative opera company” school students. She has directed The Nutcracker for Tulsa Ballet and since 2004. (Opera Magazine) and “one of the few condensed versions of operas for NZO's The Marriage of Figaro for New Zealand Peter Walls genuinely disruptive arts organisations in Opera in Schools programme since 2015. Opera. Other recent work includes the set Jo Kilgour and costume designs for A Doll’s House Part Australia” (The West Australian). LIGHTING DESIGN CONDUCTOR Jacqueline has recently completed 2 for Melbourne Theatre Company, the Tim Proudly supported by The Sir William & Lady professional development in the UK as Finn musical Twelfth Night for Queensland Manchester Charitable Trust the Pettman DARE Fellow (Opera North, Theatre and costumes for a new full-length Jo Kilgour is an Auckland-based Lighting University of Leeds and NZ Opera). Michael Parmenter work Orpheus – a dance Designer and Production Manager with Peter Walls has had a lifelong engagement opera for the New Zealand Dance Company. extensive touring and festival experience. with Baroque repertoire both as a performer and scholar. He played Baroque violin in Tracy’s work has been toured to critical Her recent lighting design credits include: the Academy of Ancient Music and other success throughout the , Six Degrees of Separation, Filthy Business, ensembles in the U.K. in the 1970s and Scotland, China, South East Asia, USA, Under The Mountain, Nell Gwynn, Amadeus was Music Director of The Baroque Players Australia and New Zealand in particular and The Curious Incident of the Dog in the for many years and of The Tudor Consort Liam Scarlett’s A Midsummer Night’s Night-time for Auckland Theatre Company; from 1993 until 1999. His CD with that choir Dream for Queensland Ballet and Royal Sigan, The Fibonacci, Matter, Geography of of motets by Peter Philips was listed by New Zealand Ballet and also Christopher an Archipelago, Brouhaha, In Transit, Seasons Hampson’s Cinderella and Romeo and Neue Musikzeitung as one of the top early Retouched and Whispers from Pandora’s Juliet, the later receiving an Olivier music recordings of 2002 and received a Box for The New Zealand Dance Company; Award Nomination for Best New Dance CHOC award from Le Monde de la Musique Leeches for Aloalii Tapu & Friends, MOTH Production in the UK. (the highest award from one of the leading Thomas de Mallet Fringetown and Rushes for Malia Johnson’s French magazines for Classical music). Movement of the Human; Once the Musical Burgess Jacqueline Coats Career highlights include two Helpmann for Peach Theatre Company and La Traviata Classics Today wrote “Conductor Peter Award Nominations for the Sydney Theatre DIRECTOR ASSOCIATE DIRECTOR for Festival Opera. Walls understands the overall period Company’s production of In the Next Room style and he obviously cares a lot about Proudly supported by Chapman Tripp Thomas de Mallet Burgess is a graduate and the Melbourne Theatre Company’s ensemble balance and uniformity of tone production of The Importance of Being of St. Edmund Hall, Oxford University. He Jacqueline studied theatre performance at and colour.” He has published extensively Earnest. Tracy is a Winston Churchill Fellow, has established an international reputation the University of Idaho under the Rebecca on 17th and 18th-century performance has a Bachelor of Spatial Design and her for directing award-winning opera and L Lynch Scholarship, then theatre and film practice. work has been shown at both the Prague leading ground-breaking research in opera at Victoria University of Wellington. She Tracy Grant Lord Quadrennial and World Stage Design performer training. gained a Master of Theatre Arts in Directing SET AND COSTUME DESIGNER His book Music in the English Courtly exhibitions. from Victoria University of Wellington and Masque received an award from the British His substantial credits as an opera Toi Whakaari: NZ Drama School. Tracy Grant Lord is a leading Australasian Academy while another book History, director encompass critically acclaimed scenographer of opera, ballet and theatre Imagination and the Performance of Music productions for national companies such She has worked as a director, a restage based in Auckland, New Zealand. Working resulted from Lectures that he gave at as House Covent Garden, director or an assistant director for New with the region’s major performance Magdalen College Oxford in 2000. In 2014 Canadian Opera Company, Opera Ireland Zealand Festival, New Zealand Opera, companies including the Melbourne, he was invited to give classes on Italian and one of the world’s most important Capital E National Theatre for Children, Sydney, Queensland and Auckland theatre Baroque performance in the historical opera festivals, Wexford Festival Opera. Victorian Opera, Orchestra Wellington, Cuba companies, Queensland Ballet, Royal New performance programme at the Juilliard Dupa Festival, Opera Hawkes Bay, Opera Zealand Ballet, Singapore Dance Theatre, School. He is author of the ground-breaking Otago, Wellington Summer Shakespeare, Australian Ballet, and performer training work: “The Singing and Sirius Opera (Wellington), New Zealand New Zealand Opera.

17 18 NZOPERA SEMELE 2020

Cast

Emma Pearson Amitai Pati Sarah Castle Paul Whelan Stephen Diaz Chelsea Dolman SEMELE JUPITER/APOLLO INO/JUNO CADMUS/SOMNUS ATHAMAS IRIS Proudly supported by Dame Jenny Gibbs, Ryman Dame Malvina Major Foundation Proudly supported by John & Margaret Hunn Proudly supported by Elizabeth Ball Proudly supported by Peter Wilson, ONZM & Proudly supported by The Wallace DNZM Mina Foley Award Charitable Trust Gerda McGechan Foundation Sarah Castle was born in Wellington and Principal artist at the Hessisches In recent months Samoan tenor Amitai studied at the RNCM Manchester. Roles Paul Whelan begins the 2019-20 season Stephen Diaz, South African born, moved New Zealand born Soprano Chelsea Staatstheater Wiesbaden for 9 years, Pati has made his European debut as for the Royal Opera, Covent Garden have at Théâtre des Champs-Elysées in the role to Auckland at the age of 15. He studied Dolman holds a MMus in Performance Emma’s repertoire included the title Nadir in a concert performance of Bizet’s included Flora La Traviata, Mlle Dangeville of Commendatore Don Giovanni, a role he for six years with Frances Wilson at the Voice (University of Waikato) and was a roles in Lucia di Lammermoor, Lulu Les pêcheurs de perles presented by Les Adriana Lecouvreur; Page Salome; and sang in the summer at Garsington Opera. Auckland Opera Studio, after studying 2014/15 Dame Malvina Major Emerging and La Calisto; Queen of the Night (Die Grandes Voix at the Philharmonie in Paris. Siegrune Die Walküre, Flosshilde Das The artist travels to Teatro Municipal de at the University of Auckland, taught by Artist with NZ Opera. She received the Zauberflöte), Zerbinetta (Ariadne auf French critics said of his performance, Rheingold and Götterdämmerung. Recently Santiago to sing the role of High Priest of Morag Atchison. For the past three years Dame Sister Mary Leo Scholarship at the Naxos), Jenny (The Rise and Fall of the “Amitai Pati performs a moving Nadir, she sang Mother and Witch Hansel & Bel Nabucco. He then rejoins New Zealand he has been studying with Ira Siff in the 2015 New Zealand Opera School, was a City of Mahagonny), Nanetta (Falstaff), endowed with a superb tenor voice, ideal Gretel for Zurich Opera. Other highlights Opera for Semele (Cadmus/Somnus) and Netherlands. Between 2010-2012 he finalist in the 2014, 2017 and 2018 NZ Hilda Mack (Henze’s Elegy for Young in the role” (Toute la culture). In addition include Portia in André Tchaikowsky’s The a recital. was a Dame Major Malvina Foundation Aria Competitions and also the 2015 and Lovers), Woglinde, Gerhilde and Waldvogel Amitai made his Canadian debut this past Merchant of Venice (Polish National Opera, Studio Artist with New Zealand Opera. He 2018 Sydney Eisteddfod McDonalds Aria (Wagner’s Ring Cycle), Sophie (Der season appearing as the tenor soloist in Warsaw; Welsh National Opera; ROH Covent Paul began last season at Opera New attended New Zealand Opera School three competitions. She gained 1st place in the Rosenkavalier), and Norina (Don Pasquale). Verdi’s Requiem with the National Arts Garden); Rabbi/Hannah/Henry Angels in Orleans in the role of Timur Turandot. At times, was first runner up in the Lexus 2016 IFAC Handa Napier Aria, 3rd place in On departing she was the youngest singer Centre Orchestra under Alexander Shelley. America (); Marco in Scottish Opera he performed the world Song Quest and won the New Zealand Aria the 2018 Christchurch Aria, was a Semi- ever to be awarded the honorary title of Tan Dun’s Marco Polo, creating the role premiere of Stuart MacRae’s opera competition. finalist in the 2018 Lexus Song Quest and ‘Kammersängerin’. He makes his role and company debut as of Elektra in Manfred Trojahn’s Orest, and Anthropocene in the role of Captain Ross won the Auckland Opera Studio prize at Jupiter/Apollo in Handel’s Semele with Magdalene Die Meistersinger von Nürnberg and stepped into the role of Dikoj Katya Throughout the rest of his years studying the 2019 New Zealand Singing School. Recent engagements include the roles of New Zealand Opera. Elsewhere, Amitai will (Netherlands Opera); Fox The Cunning Little Kabanova. While singing Commendatore and learning in New Zealand, he performed Most recently she was a semi-finalist in Micaela () for State Opera of South join the Auckland Philharmonia Orchestra, Vixen (Welsh National Opera; Israeli Opera); at Garsington Opera he also sang the role as a soloist with the APO, Orchestra the 2019 Immling Festival International Australia; Contessa Folleville (Il Viaggio a CAL Performances in Berkeley California, Dido (Lausanne); title role of Mícha The Bartered Bride. In his native Wellington, Bach Musica, Days Bay Opera, Singing Contest (Bad Endorf, Germany). Reims) for Opera Australia; the title roles the Trondheim Symphony Orchestra Carmen (Hallenstadion Zurich); Hänsel New Zealand, Paul joined Christchurch Auckland Chamber Choir, The Scholars Pro in Cunning Little Vixen for West Australian in Norway and Hawaii Opera Theatre. Hänsel und Gretel and Ruggiero Symphony Orchestra for performances of Musica Chamber Choir and many musical She has understudied and performed Opera and in for ; Amitai, with his brother Pene Pati and (Australian Opera); Flosshilde and Grimgerde Mozart Requiem. associations. In 2016 he started work on various roles with New Zealand Opera Beethoven Missa Solemnis (Bratislava) their cousin Moses Mackay, comprise the at the ; Flosshilde (Munich; Requiem Pour L. by Fabrizio Cassol and including Zena: Katya Kabanova (NZ Opera under Bertrand de Billy; Violetta (La highly successful New Zealand vocal trio Opera North); Nicklausse Les contes Alain Platel which had him engaged until 2017), Mercedes (understudy): Carmen Traviata) for Opera Queensland; Gilda SOL3 MIO, which mixes both classical and d’Hoffmann (Teatro Real, Madrid; Gran the end of 2019. (NZ Opera 2017), Louisa: The Bone Feeder () for New Zealand Opera, Theater contemporary music. Teatro de Cordoba); Nerone L’Incoronazione (Auckland Arts Festival 2017), First Lady St Gallen and Staatstheater Saarbrücken; di Poppea, Sesto Giulio Cesare and Melibea (understudy): The Magic Flute (NZ Opera Clorinda (La Cenerentola) for Semperoper Il Viaggio a Reims (Israeli Opera); Cherubino 2016), Tisbe (understudy): La Cenerentola Dresden, Minneapolis and Valencia; and (Seattle Opera; San Diego Opera; NZ Opera); (NZ Opera 2015), and Kate Pinkerton: Nannetta (Falstaff) at National Theater Stéphano Roméo et Juliette, Siébel Faust, Madama Butterfly (NZ Opera 2015). Mannheim. Lola (San Diego Opera). Chelsea is currently living in Karlsruhe, For NZ Opera she sang the title role in Germany. La Cenerentola, and has appeared with the NZSO in Die Walküre, and Beethoven Symphony 9, and with the APO in and Salome.

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NZOPERA Semele 22 NZOPERA Semele 23

the

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Grouse lighting half page ad NZOPERA NZOPERA SEMELE 2020

Freemasons Choir New Zealand Bernice Austin Soprano Opera Chorus Ann McGlinn* Soprano Christine Rush* Soprano

Victoria Andersen* Ella Ewen Soprano Alto Cecily Shaw Elizabeth Mandeno Soprano Alto Suzanne Shaw-Lentini Emma Roxburgh Soprano Alto Kerry Scurr Soprano Patrick Kelly Te Ohorere Williams Soprano Tenor Mike Liu Tenor Hamish Regan Meghan Carppe Alto Tenor Jessica Duirs Alto Dragan Atanasov Helen Kim Alto Bass Kim Claire Scholes Alto Bass Christoph Schnoor* Jessica Wells Alto Bass Andrew Crooks Lachlan Craig Tenor CHORUSMASTER *Members of The Holy Trinity Choir Andrew Grenon Tenor Pianist, conductor, and vocal coach Andrew Crooks has Nathan Hauraki Tenor recently been appointed to the role of Head of Music at New O'neal Mendoza Tenor Zealand Opera. Most recently he has been helping train the next generation of singers and pianists at Lawrence University in David Wallace Tenor Appleton, Wisconsin (USA), as Assistant Professor of Music and Musical Director of Opera.

Arthur Adams-Close Bass From 2010 to 2017 he was based in Germany, where he was on Sashe Angelovski Bass the music staff of the Deutsche Oper Berlin and the Komische Oper Berlin, working alongside conductors such as SirDonald Bernard Braithwaite Bass Runnicles, Alberto Zedda and Sir Simon Rattle, and directors Rhys Hingston Bass including Barrie Kosky, Robert Carsen and Graham Vick. Andrew has also worked as coach and assistant conductor for Wolf Trap Thomas Roeshol Bass Opera (DC), Kiez Oper (Berlin), Cincinnati Opera, Washington National Opera (where he was a member of the Domingo-Cafritz Young Artist Program), and Canterbury Opera. His graduate Rachel Fuller Rehearsal Pianist degrees are from Indiana University (conducting) and the University of Cincinnati College-Conservatory of Music (opera coaching), and he also has degrees in music and German from the University of Otago.

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Costume Design

Semele – Costume drawings and design by Tracy Grant Lord, Set and Costume Designer. 25 26 NZOPERA Semele 28 NZOPERA Semele SEMELE 202029

Opera in Schools Tour 2021

Entertain, inspire and delight children through opera.

Auckland, Hamilton, Tauranga, Rotorua, Whanganui, Wellington, Nelson, Blenheim and Christchurch

22 February – 1 April 2021

Expressions of interest to: Andrew Gordon Participation Coordinator [email protected]

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NZ OPERA STAFF AND BOARD CONTACT DETAILS General Director Thomas de Mallet Burgess AUCKLAND Executive Assistant Josie Maskell Human 5/69 St Georges Bay Road, Director Artistic Operations Shona Roberts Parnell, Auckland 1052 Head of Music Andrew Crooks PO Box 6478, Victoria Street West, Technical & Production Manager Hemi Wi-Piti Auckland 1142 (09) 379 4068 Voice Artistic Resource & Contract Manager Kristin Darragh Artistic Administrator and Company Manager Inge Teunissen Box Office 0800 696 737 (La Voix Humaine) Artist Development Manager Glenn Meade WELLINGTON Technical & Production Co-ordinator Laura Patterson NEC Building, Ground Floor, Director Marketing & Development Terri Cumiskey 40 Taranaki Street, Wellington 6011 Marketing Manager Ali Davies PO Box 6588, Marion Square, Composed by Philanthropy & Grants Manager Rebecca Galloway Wellington 6141 Libretto by Jean Cocteau Development Manager Rosalind Hemmings Directed by Thomas de Mallet Burgess Box Office ManagerJulie Bird CHRISTCHURCH Performed by Amanda Atlas and Fiona McAndrew CRM Manager Alison Lambert PO Box 36579, Merivale, Christchurch 8146 Publicist Josie Campbell This site-specific production will take place inside Director Participation Joanne Cole [email protected] a hotel room, bringing sudiences within inches both Participation Co-ordinator Andrew Gordon nzopera.com physically and emotionally to the performer. A woman Director Finance & Administration Steffan Sinclair facebook.com/nzopera waits for the phone to ring. To talk to her ex-lover one .com/nzopera Assistant Accountant Durene Gan more time. This is a tale of love stripped down, instagram.com/nz_opera He Taurima NZ Opera; Māori Arts Internship Toi Māori Aotearoa, unflinching examination of the human condition in Awhimai Fraser 45minutes of drama you cannot look away from.

PATRONS The Rt Hon Dame Patsy Reddy GNZM, QSO, Governor-General Hon Phil Goff, , Opera in a Hon Lianne Dalziel, The Hon Dame Catherine Tizard, ONZ hotel room BOARD OF DIRECTORS Annabel Holland (Chair), Tim Brown, Leo Foliaki, Jim He Zhiyun An intimate invitation MNZM, Witi lhimaera DCNZM QSM, Matt Maling, Murray Shaw, Annika Streefland, Suzanne Snively ONZM, Rachael Walkington, to a lover’s betrayal. Edward Scorgie (Secretary)

WELLINGTON 28 Oct-3 Nov TAUPŌ 5-6 November AUCKLAND 10-12 November

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Benefactors

INNER CIRCLE BRAVO CIRCLE GOLD Dr Cary Mellow* Francey Lewis Dr Stella Milsom Ann Mallinson Elizabeth Ball Charitable Trust John & Margaret Hunn* Anonymous 3 Alison Morton Dr Robert & Dame Lesley Max* Friedlander Foundation* Dr M & V Abernethy Matthew Muir & James Peters* Catherine McClean Dame Jenny Gibbs, DNZM* ARIA CIRCLE Sally & Euan Abernethy Sue Naylor* Alison & Ken McKenzie Heartland Trust Brent Anderson & Rae Mazengarb Carolyn Penney Ian & Jenny McKinnon The Farina Thompson Charitable Trust Bill & Frances Bell Sam Perry & Iona Anderson Bruce & Sandi McLean* The Canterbury Opera Foundation Garry F Bell* Maxine Pfannkuch Murray & Ros McNaughten The Wallace Foundation* David Binning* We value the support The Hon Dame Judith Potter DNZM* Arend Merrie The Sir William & Mr Joe Blackmore & Peter Pritchard Don & Deirdre Milne of our benefactors. Lady Manchester Charitable Trust Dr Kevin Sanderson Barbara & Peter Raudkivi* Roger & Barbara Moses* Peter Wilson, ONZM & Eric & Pamela Bloomfield Together we can Mrs Rosalind Reece & Sandra Basalaj Audrey J Moss & Mark Werman Gerda McGechan* Richard Braae & Andrea Gray achieve much more Je Lan Brash Geoff & Carol Reed Denise & Robert Murfitt John & Anne Roche* Richard & Joan Neild* DRESS CIRCLE Virginia Breen and ensure the future David Brown David & Dian Ross* d’Lainee free Noonan-Brown generations of Aotearoa Ros & Philip Burdon Alison Buchanan & Eric Johnston Jay Scanlon Patricia’s Opera Tours – Dr Raewyn Dalziel Richard & Kate Burtt Shaw Family Trust Patricia Hurley can experience and Sir Roderick & Gillian, Lady Deane* Dame Silvia & Peter Cartwright Jenny Smith Mrs P Reid* enjoy opera as much Bill & Olive Falconer* Chris Christensen* Suzanne Snively, ONZM & Sally & Shayle Sloman Trevor & Jan Farmer* Dorothy Coup Ian Fraser, OBE John & Vanessa Stephens* as we do. Helen Goodwin* John & Margaret Cullen* Peter & Kay Squires Brian & Bea Stokes Dame Rosie & Mr Michael Horton* Lizzie de Lambert The Robert & Barbara Stewart Charitable Robert & Diane Strevens Mrs Beverley McConnell, MNZM, QSM* Allison & Victor Diem Trust Tanglin Consultancy Ltd New Zealand Charitable Foundation Fraser & Barbara Finlayson* Dr Alastair & Mrs Susan Stokes Donald Trott* Mr Gary & Mrs Dot Paykel* Cushla R Fisher Annika Streefland Grant & Lynda Walter* Dame Adrienne Stewart, DNZM, Julie Fitzgerald Lady Tait* Paula & Avis Warren QSM, LLD (Hon) J & P Fitzpatrick S L Thompson Anthony Wright & Selene Manning Prof A & Mrs R Thurston* David Flacks & Adina Halpern* Judith Trotter Graeme & Lynley White Nick Francis & Stephanie van Leuven Noel & Kerrin Vautier* Vivienne & Barry Wilson PLATINUM Helen Gaeta Gael Webster & Tim Brown Paul & Sheryl Baines Beverly Gentles* Richard & Elaine Westlake BRONZE Rosslyn Caughey Sandra Greenfield* Jane & Paul Wright Our thanks also to all of our Susan Doig Michael & Jane Hall Dr John Wright Bronze benefactors Steph Dyhrberg & Murray Bell Roger & Jennifer Hamlin* David & the late Helen Zwartz Peter & Rae Fehl D R Harlen *Founding benefactors Cathy Ferguson & Mike During* Jenny Harper SILVER Sir David Gascoigne & Dame Patsy Reddy* Antonia Hill Anonymous 3 Michael & Creena Gibbons* Prof Les & the late Jocelyn Afford & Stephen Kós Grabs Trust Dr Patricia Holborow* Jane Aim* Dr John Grigor & Ms Keating Dr Rosi Horrocks* & Richard & Heather Armishaw John & Sue Harvey Simon Rutherford Warren & Margaret Austad John & Annabel Holland Mark & Gillian Horton Hon Margaret Austin Dr Tom & Mrs Ann Morris* Don & Janine Hunn David & Catherine Boyer Rex Nicholls & Dame David & Sally Inns Christina & David Clee* Ms Heather Pascual Robert Johnston & Stella McDonald* Dr Ivan Connell & Ms Margaret Casey Geoff & Fran Ricketts* Niels Jonker & Simon Robb John & Nora Gabriel Rebecca Tansley & Tim Storey Geoff & Elizabeth Lee Stephen & Margaret Gilbert* The Walkinton Family Kaye Lillico Anthony Grigg & Paul Williamson Carmel Walsh & Simon O’Neill ONZM Robert & Jenny Loosley* Mr Timothy Hawley* Mrs Linda Webb MNZM & Joy & Howard Mace Robert Hole & Sue Batley Mr Warwick Webb Matt & Julie Maling Peter Jones & Liz Walters Leona Wilson* John Meads & Anne Marie Moorhead* Peter Ledingham

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Partners

New Zealand Opera would like to thank the following organisations for their generosity and support.

Government Partners

Chorus Partner Schools Partner

Community Partners Presenting Partners

Artist Partners

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