7.30pm, Friday 20 July Auckland Town Hall Auckland Philharmonia Orchestra is New to complement the presence of APO Music Zealand’s full-time professional Metropolitan Director Giordano Bellincampi. orchestra, serving Auckland’s communities The APO is also proud to support both New with a comprehensive programme of Zealand and the Royal New Zealand concerts and education and outreach Ballet in their Auckland performances. It activities. In more than 70 performances also works in partnership with Auckland Arts annually, the APO presents a full season Festival, the New Zealand International Film of symphonic work showcasing many of Festival, the Michael Hill International Violin the world’s finest classical musicians. Competition and Auckland War Memorial Recent high-profile artists include Anna Museum, among other organisations. Netrebko, Vladimir Ashkenazy, composer and conductor Tan Dun, violinists Alina Through its numerous APO Connecting Ibragimova and Chlöe Hanslip, pianists (education, outreach and community) Kathryn Stott and Behzod Abduraimov, initiatives the APO offers opportunities and harpsichordist Mahan Esfahani. to more than 20,000 young people Leading international artists in 2018 and adults nationwide to participate in include clarinetist Andreas Ottensamer, music, ranging from hip-hop and rock to cellist Alban Gerhardt, and violinist contemporary and classical. Arabella Steinbacher. We are also More than 250,000 people hear the delighted to welcome back pianist Jean- orchestra live each year, with tens of Efflam Bavouzet, cellist Li-Wei Qin, and thousands more reached through special conductors Stephen Layton, Carlos Miguel events, recordings, live streams and Prieto and Lionel Bringuier, among others, other media. Welcome 3 Auckland Philharmonia Orchestra 2018 4 Verdi’s 5 Acknowledgements 18

Auckland Philharmonia Orchestra receives major funding from

Please consider others and mind that cough. A hand or handkerchief placed over the mouth greatly reduces the volume. Please turn off all watch alarms and mobile devices before entering the auditorium. It is strictly prohibited to take photographs, visual or audio recordings of any performance.

PROGRAMME BOOK VISITING INTERNATIONAL ARTISTS Programme notes by Frances Moore © 2018 Layout and print management Stay at Enjoy

The flowers presented on stage are Creative design generously donated by Scarecrow – Auckland city’s deli, café and florist.

Verdi’s Aida 2018 1 Proudly helping the APO bring you the best international talent.

www.malcolmpacific.com Aida has captured the imaginations of The Trusts Community Foundation (TTCF) is operagoers for nearly a century and a half, delighted to be a strong supporter of Opera and tonight we are pleased to present the in Concert, the cornerstone of the Auckland APO premiere of this wonderful opera. Philharmonia Orchestra’s annual programme. Verdi’s transcendent music makes Aida a TTCF’s partnership with the APO was perennial favourite, masterfully balancing established in 1998, a relationship that grandeur and spectacle with a deeply continues to grow and develop. We moving personal tragedy. We’re delighted increasingly value the role that the APO to have our own Music Director Maestro plays. It delivers not only world-class main Giordano Bellincampi lead our orchestra stage concerts but also APO Connecting, through this timeless work. He joins a superb an extensive community and education roster of guest singers including programme for toddlers through to aspiring Antonello Palombi, who has sung the role of professional musicians – a programme Radamès to great acclaim at and also supported by TTCF. The Met, as well as soprano Maria Luigia TTCF is proud to have West Auckland’s Borsi, who returns to the APO following a Portage and Waitakere Trusts as foundation memorable performance in in 2016. members and it is the Portage trustees’ Bringing these wonderful singers and consistent recommendations that ensure musicians together is made immeasurably TTCF’s ongoing support of APO’s Opera easier thanks to our ongoing collaboration in Concert is an easy decision. with New Zealand Opera, and we’re also We very much hope that you will enjoy grateful for the continued support of The Proudly helping the APO bring you the best international talent. tonight’s operatic masterpiece, Verdi’s Trusts Community Foundation. Aida, performed by wonderful guest artists Above all, we’d like to thank you, our and Auckland’s own world-class orchestra audience, for joining us tonight. We hope conducted by Music Director, Maestro you enjoy the concert. Giordano Bellincampi. Barbara Glaser Ross Clow Chief Executive, Auckland Philharmonia Orchestra Chairman, The Trusts Community Foundation www.malcolmpacific.com Verdi’s Aida 2018 3 Music Director Cellos Horns Giordano Bellincampi David Berlin Nicola Baker β David Garner + Emma Eden * Concertmaster Liliya Arefyeva # Carl Wells # Andrew Beer Katherine Hebley Simon Williams # Associate Concertmaster You Lee David Kay Liu-Yi Retallick James sang-oh Yoo Trumpets Callum Hall Assistant Concertmaster Huw Dann β Miranda Adams Basses Jenna Smith Gordon Hill β First Violins Trombones Annabella Zilber + Artur Grabczewski # Douglas Cross β Evgueny Lanchtchikov # Mark Bennett Mark Close # Elzbieta Grabczewska Matthias Erdrich Trombone Ainsley Murray Michael Steer Timothy Sutton * Alexander Shapkin Eric Scholes Caroline von Bismarck Flutes Tuba Yanghe Yu Melanie Lançon β Tak Chun Lai * Lucy Qi Zhang Kathryn Moorhead + Timpani Yuri Cho Piccolo Steven Logan β Annabelle Swainston ~ Jennifer Seddon-Mori * Percussion Second Violins Oboes Eric Renick β Dianna Cochrane β Bede Hanley β Jennifer Raven # Xin (James) Jin + Camille Wells + Shane Currey William Hanfling # Rae Crossley-Croft = Cor Anglais Harp Sarah Hart Martin Lee * Ingrid Bauer * Jocelyn Healy Clarinets Fanfare Trumpets Rachel Moody Bridget Miles (Bass Clarinet) + Stephen Bemelman Milena Parobczy James Fry (Eb Clarinet) + Josh Rogan Ewa Sadag Natalie Harris + Bruno Siketa Katherine Walshe Rob Sims Mia Stanton ~ Bassoons Ingrid Hagan β Guest Musicians Violas Yang Rachel Guan Ebbett + First Violin Lucía Siwy Robert Ashworth β Second Violin Irina Lgotkina Contrabassoon David Samuel + Viola Wen Chuan Lin Ruth Brinkman * Christine Bowie # Cello Jesbery Hartono, Sally Kim Anne Draffin # 2nd Harp Rebecca Harris Helen Bevin Ping Tong Chan Gregory McGarity Susan Wedde β Section Principal = Section Leader Emeritus * Principal Grace Leehan ~ + Associate Principal # Sub-Principal ~ APO Orchestral Fellow

4 apo.co.nz Presented by Auckland Philharmonia Orchestra in association with New Zealand Opera Conductor Giordano Bellincampi Aida Maria Luigia Borsi Radamès Antonello Palombi Amneris Olesya Petrova Amonasro Lucio Gallo II Re Pelham Andrews Ramfis Giacomo Prestia High Priestess Anna Leese Messenger Oliver Sewell The Freemasons New Zealand Opera Chorus Stage Direction Stuart Maunder AM

Verdi’s Aida 2018 5 SYNOPSIS ACT I ACT II In a hall in the royal palace in Memphis. In the quarters of Amneris The high priest Ramfis tells Radamès, Ethiopia is defeated and Amneris’s slaves Captain of the Guard, there is a rumour are preparing her for the triumphant feast. Ethiopia is preparing another attack, When Aida approaches, Amneris sends threatening the Nile valley and Thebes. her entourage away, so the two women Ramfis tells Radamès that he has prayed can be alone. to Isis and will be telling the King who Suspicious of Aida, Amneris tells her Isis has chosen to be the supreme that Radamès has fallen in the battle. Egyptian commander. Aida despairs, revealing her true feelings. Alone, Radamès reflects that if chosen, he Vindicated in her suspicions, Amneris will be able to set free his beloved Aida – reveals the truth – that Radamès lives – the Ethiopian slave of Princess Amneris. and declares that she will be Aida’s rival in her pursuit of the General. She orders Aida Amneris enters, jealously noticing the to accompany her to the triumphant march, passion in the Captain’s eyes and grows to bear witness to her people’s defeat. more suspicious when she sees how he looks at Aida. The city gates The King and his entourage enter the hall, The people sing hymns of thanksgiving as and a messenger steps forward confirming the army marches into the city with the spoils that the Ethiopians have attacked, led by of war. The King embraces the victorious the fearsome warrior-king Amonasro. The Radamès, while Amneris offers him a crown. King declares that Radamès has been Finally, the prisoners are led in, including chosen to lead the Egyptian army and all King Amonasro, who whispers to Aida that sing a patriotic anthem. she must not reveal his true identity. Alone, Aida is torn between her love of Amonasro begs for leniency, saying Radamès and her love for her country and that he saw his own king killed on the father – King Amonasro. battlefield. Ramfis demands the prisoners are executed, but Radamès is impressed Inside the temple of Vulcan. by Amonasro and begs the King’s mercy. Priestesses offer prayers to the god Fthà. The King grants his General’s request, but Ramfis addresses Radamès, bestowing keeps Amonasro as a hostage. As a reward him with a sacred sword, ordering him to for Radamès, the King grants the General protect his homeland. his daughter Amneris’s hand in marriage.

6 apo.co.nz ACT III ACT IV The banks of the River Nile In a hall in the royal palace in Memphis. Ramfis bids Amneris to visit the temple of Radamès is awaiting his trial and sentencing. Isis, to seek a divine blessing on the eve of Believing Aida to be dead, he decides to her wedding. offer no defence. Amneris, desperate to save him, confesses that Aida has survived, Aida, waiting for Radamès, is lost in though her father was killed. She offers to thought. She is surprised by her father, who save him, but only if he will renounce his knows that she loves Radamès. Invoking love of Aida. Radamès refuses. her sense of patriotic duty, he asks his daughter to find out from the General Brought before the priests, Radamès refuses which route the Egyptian army will use to to answer their charges against him, and is attack Ethiopia. condemned to be entombed alive. Amneris begs for their mercy, but they refuse her, He hides as Radamès arrives to meet his and she curses them as they leave. beloved. Aida begs Radamès to run away with her. When, at last, he agrees Aida asks Inside the tomb of Radamès him which route the army will be taking, Radamès prepares himself for death. As so they may avoid them. As the General the stone, closing his tomb is put in place, reveals his army’s position, Amonasro Aida reveals herself. She has decided to reveals himself and his true identity. The die alongside her beloved. As they express Ethiopian King asks Radamès to defect to their love for each other one last time, Ethiopia, offering his daughter Aida’s hand Amneris, in the temple above, prays to Isis. in marriage. However, Radamès is horrified by his own betrayal of his homeland. Amneris and Ramfis, returning from the temple, discover the plot and Amneris declares Radamès a traitor. Amonasro attempts to kills Amneris, but she is saved by Radamès. As Ramfis calls for the guards, the General instructs Aida and her father to flee, choosing to remain.

Verdi’s Aida 2018 7 PROGRAMME NOTE

Giuseppe Verdi du Locle, asked Verdi for another opera but Aida the composer refused. As he wrote to du Locle, ‘everyone wants to judge according was very clear about what to his own lights and tastes, and what is was important when it came to music. worse, according to a system, without taking ’s youth, he said ‘must attend few performances of modern and avoid into account the character and individuality becoming fascinated either by their many of the composer… I want art in whatever beauties of harmony and orchestration manifestation of it, not amusement, artifice, or by the diminished seventh chord.’ Of and system, which you prefer.’ du Locle course, his own Aida is nothing if not a wasn’t put off and a year later, during a visit masterclass in such modern beauty of to the composer’s estate in Sant’Agata, he colour and orchestration. presented the idea of Aida. Verdi began his opera career in earnest The commission had come from Ismail in the 1840s, and in the following two Pasha, the viceroy of Egypt, who wanted a decades his Nabucco, , La Traviata work specifically for his Cairo opera house. and , firmly fixed his reputation The scenario, suggested by the famous as both a national treasure and a symbol Egyptologist Auguste Mariette, was to be of Italian Nationalism. Admittedly, Verdi set in Ancient Egypt. Verdi was convinced aided his own myth-making and no example and Aida, with a libretto by Antonie is more potent than his genesis story of Ghislanzoni based on Mariette’s scenario, Nabucco. According to him, he had refused was first presented almost a year later, on to read the libretto offered to him and threw the 24th of December 1871 at the Cairo the pages onto a table in a fit of pique. The Opera House. (Verdi chose not to attend manuscript, perhaps guided by the hand of the premiere himself, joking that he feared fate, fell open on the great slave chorus, ‘Va he would be mummified.) Pensiero’, and Verdi was instantly captured. Aida is unashamedly exotic in its setting, The chorus and its composer, of course, with ample opportunities to parade would become intimately associated with elephants and slaves across the stage. the Risorgimento movement. All this and fantastical costuming made By 1869, Verdi was a comfortably well-off Aida the very pinnacle of grand opera. land-owner and gentlemen-farmer. Much Unsurprisingly, it was one of the most like his predecessor Rossini, he often flirted performed and popular operas of the first with the idea of retirement, periodically half of the twentieth century. However announcing that he had composed his last these same ‘exotic’ qualities have made opera. It was the internal politics within the the opera problematic for more modern opera houses – especially his experiences audiences. The eminent scholar Edward at the Opéra in Paris – that inspired his Said saw Aida as the epitome of orientalism, latest pause. Following the brilliant success describing the work as ‘an imperial spectacle of Don Carlos in Paris, its librettist, Camille designed to alienate and impress an

8 apo.co.nz almost exclusively European audience’. It is undeniable that Aida was born during a time of European imperialism and violent nationalism, commissioned as it was by a Turkish-Albanian potentate, conceived by a Frenchman and composed by an Italian. For Verdi, the appeal of Aida was not in its potential for exotic spectacle but rather to advance his own compositional practice as he created new orchestral colours – innovations that are, of course, more reflective of 19th-century Italian opera practice than anything else. In Radamès’ first aria ‘Celeste Aida’, the pairing of a flute in its lowest registers against the delicate trembling of the violins in their upper registers creates a musical atmosphere that is exquisitely, fervently, delicate. At other moments, like the Act II grand march, Verdi is happy to revel in brassy bombast. The many subdued and wonderfully quiet moments balance the extroverted triumphs, making Aida musically fascinating. Following Aida’s success, Verdi almost immediately (and only briefly) retired once more from composition. While he may well have been sceptical of modern operas and their ‘beauties of harmonies and orchestration’ the composer’s own ‘modern’ obsession with timbre and colour nevertheless found extraordinary expression here. © copyright Frances Moore 2018

Verdi’s Aida 2018 9 Nielsen, performing a wide selection of his works both in Denmark and abroad. Highlights of recent seasons have included concert performances of Verdi’s Otello and Puccini’s Manon Lescaut with the Auckland Philharmonia, and with the Duisburg Philharmonic gala performances of Wagner’s operatic and orchestral music to mark the re-opening of the orchestra’s home in Duisburg’s Mercatorhalle. He also had a highly-acclaimed visit to Amsterdam’s legendary Concertgebouw Hall, with repertoire by Nielsen, Sibelius Giordano Bellincampi and Beethoven. Conductor In the 17/18 season, he brings major repertoire to Auckland and Kristiansand, Giordano Bellincampi is the Music Director including a concert performance of Aida of the Auckland Philharmonia Orchestra in Auckland and staged performances of and Chief Conductor of the Kristiansand La Traviata with the Kristiansand Opera. Symphony Orchestra. Born in Italy and He returns to the Athelas Sinfonietta and I moving to at a young age, he Pommerigi Musicali Milan, and conducts four began his career as a trombonist with the programmes with the Toledo Symphony. before making his As Associate Professor at the Royal professional conducting debut in 1994. Danish Academy Giordano Bellincampi Previously, he was the Principal Conductor is dedicated to the work of educating of I Pomeriggi Musicali, Milan, General future generations of orchestra musicians Music Director of the Duisburg Philharmonic and conductors. He also regularly gives from 2012-2017, General Music Director masterclasses and serves as a jury member of the Danish National Opera, for a number of international conducting from 2005-2013, Music Director of the competitions. In 2010 he was made a Copenhagen Philharmonic Orchestra from Knight of the Order of the Dannebrog, 2000-2006 and, between 1997-2000 an award bestowed by the Danish Royal he was Chief Conductor of the Athelas Family for services to Danish culture, and Sinfonietta Copenhagen, the leading he also holds the title of ‘Cavaliere’ from contemporary ensemble in Denmark. the President of Italy for his international With an enormous repertoire embracing promotion of Italian music. classical, romantic and contemporary music, he is particularly celebrated for his prowess in the Central European, Italian and Scandinavian symphonic traditions, and for his interpretations of significant choral and vocal works. In 2015 he focused Giordano Bellincampi’s performance is on the 150th anniversary of the birth of Carl supported by Dr Tom and Mrs Ann Morris

10 apo.co.nz Israel Philharmonic Orchestra, Münchner Philharmoniker, Rotterdam Philharmonic, London Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Tokyo Philharmonic, Seoul Philharmonic Orchestra and the Scottish Chamber Orchestra. In 2010, Ms. Borsi made her recital debut at London's Wigmore Hall. She has collaborated with illustrious conductors including , , Lorin Maazel, Myung-Whun Chung, Marcello Viotti, Michel Plasson, Alain Lombard, Marco Armiliato, Yannick Nézet- Maria Luigia Borsi Séguin and many more, and eminent stage Soprano directors including Franco Zefrelli, Hugo De Ana, Damiano Michieletto, Stephen Langridge, among others. AIDA In the 2016/17 season she sang Desdemona in Otello with the Auckland Hailed by critics worldwide for her vocal Philharmonia Orchestra, La bohème at dynamism and interpretive prowess, Italian the Royal Danish Opera, Contessa in Le Maria Luigia Borsi has forged nozze di Figaro at the Gothenburg Opera a career that has taken her throughout and Liù in at the Pittsburgh Europe, Asia and the United States. Ms Opera. Other highlights include Otello Borsi began her career as Liù in Turandot in Oviedo, Verdi’s da in at the Teatro alla Scala in Milan. Shortly Moscow and a concert version of thereafter she made her Venetian debut with the London Philharmonic Orchestra. for the historic reopening of the Teatro La The 2017/18 season will see her in a new Fenice singing as Violetta in La traviata, production of by Hugo de under Lorin Maazel. Ana at Beijing's NCPA. Ms. Borsi has performed at the Salzburg Born in Sora (Italy), she studied with Festival (Otello), Zurich Opernhaus , Lucia Stanescu, Claudio (La traviata), Berlin Philharmonie (Suor Desderi, and . Angelica), Deutsche Oper Berlin (La bohème), Gran Teatre del Liceu of Barcelona (La bohème), New National Theatre of Tokyo (Così fan tutte and Otello), Arena di Verona (Carmen), Royal Danish Opera (), Les Chorégies d’Orange (Turandot), Pittsburgh Opera (Madama Butterfly), Novaya Opera of Moscow (), and with the London Maria Luigia Borsi’s performance is supported Symphony Orchestra, Vienna Philharmonic, by Dame Jenny Gibbs DNZM

Verdi’s Aida 2018 11 Antonello Palombi Tenor RADAMÈS Italian tenor Antonello Palombi made his opera debut in 1990 as Pinkerton in Madama Butterfly, and he consolidated his career in the lirico and lirico spinto repertoire. He has sung the main roles in Carmen, Nabucco, Don Carlo, Aida, Tosca, Fedora, Norma, Manon Lescaut, Turandot, Samson et Dalila, Fanciulla del West, Forza del Davin, Claudio Desderi, Asher Fisch, Carlo Destino, Tabarro, , Otello, Andrea Franci, Riccardo Frizza, Sir John Eliott Chenier and Il trovatore. Gardiner, Herbert Handt, Daniel Harding, Chikara Imamura, Zhang Jiemin, Yoel Levi, He has sung in theatres around the world Andrea Licata, Alain Lombard, Stephen including the Royal Albert Hall, La Scala, Lord, Fabio Luisi, Robert Lyall, Steven the Metropolitan Opera, Bavarian State Mercurio, Carlo Montanaro, Paolo Olmi, Opera, Glyndebourne, Venezia Granteatro Renato Palumbo, Antonio Pirolli, Stefano in Venice, Teatro Regio in Ranzani, Donato Renzetti, Nello Santi, Torino, Baden Baden, Liegi, Wiesbaden, Robert Spano, Viekoslav Sutej, Pinchas Ludwigsburg, Bologna, Cagliari Messina, Steinberg, Marcello Marcello Viotti, Dean Klagenfurt, Teatro Verdi in Florence, Williamson and Marco Zambelli. Lisbona, Il Cairo, New National Theatre of Suntory Hall in Tokyo, Riga, Budapest, His future engagements include Andrea Copenhagen, Denver, Alte Oper Frankfurt, Chenier, Pagliacci, Turandot, Cavalleria Teatro dell'Opera in at the Festival rusticana, Tosca, Aida and Otello. at Baths of Caracalla, Genova, Deutsche Oper Berlin, Seattle Opera, Melbourne, Detroit, Dallas, Cincinnati, Stadttheater Klagenfurt, Vancouver Opera Festival, Monte Carlo, Helsinki, and Gran Teatro del Liceu in Barcelona. Esteemed conductors he has worked with include Nader Abassi, Roberto Abbado, Yves Abel, Yuri Ahronovitch, Giancarlo Andretta, Marco Armiliato, Christian Badea, Maurizio Barbacini, Bruno Bartoletti, Giordano Bellincampi, Oleg Caetani, Daniele Callegari, Bruno Campanella, Antonello Palombi’s performance is supported Giuliano Carella, Paolo Carignani, Fabrizio by and in memory of Lesley French, who loved Maria Carminati, Riccardo Chailly, Patrick music and opera

12 apo.co.nz Olesya Petrova Mezzo-soprano AMNERIS Olesya Petrova was born in Saint Petersburg, Russia. She graduated from the St. Petersburg State Rimsky-Korsakov Conservatoire in 2008, class of Professor Irina Bogacheva. Future engagements include Amneris (Aida) at the Festival de Sanxay in France, as Valery Gergiev, Leo Kremer, Fabio Amneris (Aida) and Ulrica (Un ballo in Mastrangelo and Vladimir Fedoseev. maschera) at The Metropolitan Opera in New York, Amneris (Aida) for the Auckland She is a prize winner at the XI International Philharmonia Orchestra in New Zealand, Tchaikovsky Competition (Moscow 2007, Azucena (Il Trovatore) at Opera di Firenze second prize) and at the International under Fabio Luisi and at Opera Østfold, Competition of Galina Vishnevskaya and Verdi's Requiem with Orquestra de (Moscow 2006, second prize). In 2011 Cadaqués Barcelona. she reached the final in the BBC Cardiff Singer of the World. Recently she has performed Federica (Luisa Miller) at The Metropolitan Opera, Carmen Concertante with Győr Philharmonic Orchestra at Audi Arena, Amneris (Aida) at Arena di Verona, Verdi's Requiem and second alto in Mahler’s Symphony No.8 with Fabio Luisi and the Danish National Radio Symphony Orchestra, Amelfa (The Golden Cockerel) at Teatro Real de Madrid, Antonia's Mother (Les contes d' Hoffman) at The Metropolitan Opera, Emilia (Otello) at Liceu de Barcelona, Amneris (Aida) in Montreal and Federica (Luisa Miller) at Teatro Verdi di Trieste. She is a very sought-after concert singer with many Russian orchestras and chamber ensembles and her concert repertoire includes cantatas and oratorio works by Bach, Pergolesi, Mozart, Beethoven, Verdi, Berlioz, Wagner, Mahler Olesya Petrova’s performance is supported by and Prokofiev with conductors such Richard Ebbett

Verdi’s Aida 2018 13 Lucio Gallo Baritone AMONASRO After graduating from the Giuseppe Verdi Conservatory in Turin under the guidance of Elio Battaglia, Italian baritone Lucio Gallo had begun an outstanding career. This has led him to the most important theatres, including The Metropolitan Opera in New York, Covent Garden in London, the , Staatsoper and Musikverein in Vienna, Staatsoper and Philharmonie in Berlin, Teatro alla Scala, and performing with conductors including , Daniel Barenboim, Riccardo Chailly, Zubin Mehta, Riccardo Muti, Antonio Pappano and Wolfgang Sawallisch. Mr Gallo’s interpretative talent and his refined vocal technique allow him to sing form Rossini to Mozart, Puccini to Wagner, Donizetti, Verdi and also contemporary music. Among his most recent successes are his debut performances in , and in Germany, Tosca at Deutsche Oper Berlin and at Opera in Sydney, at New Israeli Opera, Gianni Schicchi and Il Tabarro at Covent Garden, London. In 2018 he will return to The Metropolitan Opera as Michele in Il Tabarro.

Lucio Gallo’s performance is supported by The James Wallace Arts Trust

14 apo.co.nz Giacomo Prestia Bass

Pelham Andrews RAMFIS Bass Italian Bass Giacomo Prestia made his opera debut with Giuseppe Verdi’s , in Fidenza, Italy. He has performed in II RE the major opera houses of the world, among them: La Scala, Maggio Musicale Australian Bass Pelham Andrews, trained Fiorentino, Opéra National de Paris, Vienna in the UK, Germany and Australia, and Staatsoper, Opernhaus Zurich, Teatro Real has been widely praised for the richness de Madrid, Liceu de Barcelona, Staatsoper of his singing. Unter den Linden and Deutsche Oper He has been a principal artist for Opera Berlin, Teatro Colon de Buenos Aires, Australia, State Opera of South Australia, Teatro Comunale in Bologna, San Carlo Victorian Opera and English National in Naples, Berlin Philharmonic and Teatro Opera in such roles as Timur (Turandot), Regio di Parma. Mr Prestia has also worked Sparafucile (Rigoletto), Padre Guardiano with eminent conductors including Claudio (Forza del Destino), Colline (La bohème) Abbado, Myung-Whun Chung, Antonio and Lodovico (Otello). His most recent Pappano, Zubin Mehta, Riccardo Muti, performances also include Nourabad Georges Prêtre, Danielle Gatti, Nello Santi, (The Pearlfishers), Betto di Signa (Gianni Bruno Campanella, Maurizio Benini, Michele Schicchi), Tio Salvador (La Vida Breve), the Mariotti, and Jader Bignamini. Demon Farfarello (Love for Three Oranges), Recent engagements include I vespri Lester Lamb (Cloudstreet – World siciliani in Parma, Macbeth in Bilbao and Premiere), and Geronte (Manon Lescaut). Monte Carlo, Aida in Florence, at La Scala As a concert soloist, he has performed with and Arena di Verona, Norma in Bari and numerous orchestras and choirs including Turin, Lucia di Lammermoor and the Adelaide Symphony, Queensland in Naples, Don Carlo in Wien, Modena, Turin Symphony and Sydney Philharmonia and Piacenza, Forza del Destino in Sydney, in such repertoire as the Requiems of Simon Boccanegra in Budapest, Parma, Verdi, Mozart, Brahms and Fauré, Haydn’s Turin and Venice, Les Troyens at La Scala, Creation, Handel’s Messiah, Beethoven’s Don Carlo in Melbourne and Berlin, Rigoletto Symphony No.9, Mozart and Beethoven in Parma, La Gioconda in Piacenza and Masses, and Cantatas by Bach. Reggio-Emilia, and Macbeth in Liege.

Pelham Andrews performance is supported by Giacomo Prestia’s performance is supported by Eric Johnston and Alison Buchanan Helen Gaeta

Verdi’s Aida 2018 15 Oliver Sewell Tenor Anna Leese Soprano MESSENGER New Zealand tenor Oliver Sewell sang HIGH PRIESTESS as the tenor soloist at the Lincoln Centre in 2016 in New York Master Chorale's Anna Leese studied at the University of Carmina Burana, and in Carnegie Hall Otago and has been the recipient of many in 2018 as tenor soloist in Mozart's awards and prizes, also representing New Missa Solemnis. Other highlights include Zealand in the BBC Cardiff Singer of the performing Alfredo in La traviata at the World competition. Academy of Vocal Arts, Mozart’s Mass Ms Leese regularly appears as guest artist in C Minor with Kent Tritle, with George with New Zealand’s leading orchestras and Manahan performing Danceny in The ensembles. Her performance highlights Dangerous Liaisons and Tamino in The include the role of Mary/Luck in a new Magic Flute, as well as playing Father work by Ross Harris (libretto by Vincent Pirrone in scenes and workshop of O’Sullivan), Brass Poppies, for New Michael Dellaria’s upcoming opera The Zealand Festival in both Wellington and Leopard. Other roles include Brighella Auckland, Mahler’s Symphony No.2 and and Tanzmeister in Ariadne auf Naxos Messiah with New Zealand Symphony (Academy of Vocal Arts), Ernesto in Don Orchestra, Freia in Das Rheingold with Pasquale (Crested Butte Music Festival, Auckland Philharmonia Orchestra, Mahler’s Colorado), Gastone in La traviata (New Symphony No.2 with Bernard Haitink, an Jersey Festival Orchestra and New Zealand all-Mozart programme with the Scottish Opera), Benoit in Le roi l'a dit, (Manhattan Chamber Orchestra and Sir Roger School of Music Opera Studio), Corrado in Norrington at BBC Proms, as well as Il Corsaro (New Zealand School of Music) performances at House and Biondello in L’oca del Cairo (Days Bay Covent Garden and at Wigmore Hall. Opera). He is currently a Resident Artist at the Academy of Vocal Arts in Philadelphia. Anna Leese’s recordings include Elgar’s The Apostles, a recital disc with Graham Oliver Sewell gratefully acknowledges the Johnson, and Haydn: ‘Italian Love Songs’. support of the Kiri Te Kanawa Foundation.

Anna Leese’s performance is supported by Oliver Sewell’s performance is supported by Dame Jenny Gibbs DNZM and in memory of Lesley French, who loved music and opera

16 apo.co.nz The Freemasons New Zealand Opera Chorus

Director John Rosser Soprano Tenor Répétiteur David Kelly Bernice Austin Terry Barry The Freemasons New Zealand Opera Lilia Carpinelli* Lachlan Craig* Chorus is auditioned annually and has Clare Hood Taunoa Filimoehala members in three separate choruses around Moonyoung Jang Andrew Grenon* the country. Its members are trained and Fiona Li Harry Grigg accomplished singers, requiring both the Anna Mahon Nathan Hauraki technique to sing across an orchestra and Elizabeth Mandeno* David Hwang the ability to perform on an operatic stage. Morag McDowell Bo Jiang Many members of the chorus have gone Christina Orgias Patrick Kelly on to success internationally, and to have Carla Parry Graham Mandeno leading roles with New Zealand Opera. Emma Roxburgh Chris McRae Kerry Scurr O’neal Mendoza The Chorus features not only in New Emma Sloman* Greg Milner-White Zealand Opera’s mainstage productions Blaire White Michael Potts but also in a wide variety of concerts Kalauni Pouvalu Mezzo and special events. It has received David Wallace considerable acclaim for its performances, Rosemarie Brown with one critic describing it as “absolutely Meghan Carppe Baritone superb both dramatically and musically” Victoria Coleman Arthur Adams-Close and others hailing its “remarkable singing” Dilys Fong Dragan Atanasov and “sharp, incisive work”. Laura Harvey Callum Blackmore Melissa Jackson Ivan Blythe John Rosser has been New Zealand Helen Kim Mark Covich Opera’s Chorus Director (Auckland) since Glenn Meade Samuel Downes 1995. John is founder and conductor of the Mary Newman- Alexander Garvey chamber choir Viva Voce, guest conductor Pound Rhys Hingston for several other choirs, and recently Charlotte Pridham Daniel Kim appointed as Artistic Director of the World Deborah Rogers* Ben Kubiak Symposium on Choral Music to be held in Claire Scholes Alex Matangi Auckland in 2020. Alex Milligan Richard Olney Jonathan Palmer John Rosser Samson Setu ~ Angus Simmons Adam Thompson

* Freemasons New Zealand Opera Artist ~ Dame Malvina Major Emerging Artist

Verdi’s Aida 2018 17 Auckland Philharmonia Orchestra FUNDERS AND DONORS

The Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by the following organisations and individuals whose funds support the work of the orchestra: its main stage concert series and its community, outreach and education concerts and other programmes.

PLATINUM

Auckland Council Four Winds Foundation The Trusts Community Foundation Auckland Live Freemasons Foundation The Wallace Foundation Auckland Philharmonia Foundation Pub Charity Limited Adrian Burr Creative New Zealand Sir William and Lady Manchester Haydn Staples Foundation North Charitable Trust Lynley Stewart Trillian Trust

GOLD

The Douglas Goodfellow Potter Masonic Trust Dame Jenny Gibbs Charitable Trust Stout Trust Audrey Hay

SILVER

Alexander Harold Watson Gillies McIndoe Foundation Maurice Paykel Charitable Trust Charitable Trust Kelliher Charitable Trust Warren & Sandra Cant Auckland Philharmonia Orchestra Lesley French Estate Richard Ebbett Friends The Lion Foundation Dr Sylvia Rosevear Australian Communities Foundation – Sylvia Fisher Fund Manukau Westmere Lodge David & Dian Ross Charitable Trust Peter Wilson & Gerda McGechan

BRONZE

APRA AMCOS NZ North & South Trust Eric Johnston & Alison Buchanan Auckland Decorative and Fine Arts NZCT Peter & Gael Levin Society Roger & Joanna Booth David & Janet Mayes The Hamana Charitable Trust Peter & Fay Cropper Coral Mazlin-Hill in memory of the Ministry of Education Anne Hargreaves late Willi Hill Mt Wellington Foundation Dame Judith Potter

18 apo.co.nz THE APO STELLAR FUND – SUPPORTING ARTISTIC EXCELLENCE Warren & Sandra Cant David & Dian Ross Dr Sylvia Rosevear Peter Wilson & Gerda McGechan

SUPPORTERS CIRCLE Jack & Liz Alison Sandra Greenfield Anne & David Norman Jack Astley Mr John & Mrs Trish Gribben Anne Norris Diane Baguley Robert & Alison Gunn Denver & Prue Olde Anne & Tony Baird Joan & John Guthrie Penelope Peebles & James Anita Banbury Graham Guthrie Sutherland Lynda Batcheler Jane Haines Bev & Geoff Pownall Robyne Bell Bruce & Wendy Hadden Dame Judith Potter Roger & Joanna Booth Peter & Joan Hanson Kieran & Jan Raftery Susanna & Hugh Brown Mary Hare Carolyn Reid Claire & Peter Bruell Anne Hargreaves Maria Renhart Ronald Bruell & Pamela Hayward Sonja & Glenn Hawkins Laurie & Claire Reynolds Marsha Cadman & Chris Brooks Robert & Hilary Howard Dr Roger Reynolds Mrs Kathryn Burgess Robert Jenkins Sally Rich Dr Marian Carter Robert Kinnear Adam Ross Andrew Clark & Rebecca Keen Peter & Gael Levin Phillip Rudling Sally Clatworthy John & Barbara Lindsay Paul Salmon & Rachel Donovan Commando Ltd Alan & Caroline List Ronald Saunders & Nuala Grove Robert Cox John & Sue Maasland Janine Smith Peter & Fay Cropper Alastair MacFarlane Heather Simpson Wayne Dyer Fraser & Linda Macfarlane Gillian Spencer Paul & Alison Dyson Helen Macky Karen Spires Mr Mark Dickie Nick Main Lee & Penny Stevens Robert & Gillian Eady Stephanie & Dennis Markson Dame Adrienne Stewart Richard Ebbett Joan & David Maxwell Lady Philippa Tait Graeme & Di Edwards Coral Mazlin-Hill Haruko Thomas Kate Fardell Julian Smith & Craig McAlpine Gael & Earl Thompson Stephen & Virginia Fisher Mrs Beverley McConnell Dave Tuke Ruth & Peter Gadgil Alison & Ken McKenzie Gwynne Urquhart Beverly Gentles Sir Don McKinnon John & Kate Welch John & Eleanor Gibb Dame Rosanne Meo Jane Williams Dame Jenny Gibbs Ross Milne & Phillippa Levy Mira Wilson Barbara Glaser & Richard Panting Mrs Alison Morton Peter Wilson & Gerda McGechan John Gow Rob & Ruth Morton Canna Zhao David Graham Gaynor & Humphrey Nisbet Jackie Grant Ron & Ruth Niven 52 Anonymous Donors

Listed are all donors who have given since 1 January 2017. Donations by individuals of $5 or more attract a tax rebate of 33.33%. For information about opportunities to support the orchestra please contact Laura Dee, Director of Development, on (09) 638 6266 ext 233 or [email protected]

Verdi’s Aida 2018 19 Auckland Philharmonia Orchestra CHAIR DONORS

The Auckland Philharmonia Orchestra gratefully acknowledges the following generous donations to our Chair Donor programme. Chair Donors enjoy a special relationship with individual orchestra players and receive invitations to exclusive events throughout the year. The minimum gift to become a Chair Donor is $5,000 annually.

MUSIC DIRECTOR CHAIR ($10,000 +) Rod and Reel Tackle Ltd

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

PRINCIPAL & TUTTI CHAIRS ($5,000 minimum annual donation) Tony & Deirdre Anselmi Family Trust Richard & Lois Hadfield David & Dian Ross Auckland Philharmonia Orchestra Haines Family Mark Rowley Friends Stephen & Gail Hofmann Avril & John Ryan Leigh & Jennie Auton Michael & Dame Rosie Horton Gregory & Vlasta Shanahan Alex Baker Karen Kennedy Signs Around Town Ltd Charline Hamilton Baker Jennifer Knutsen Andrew & Jenny Smith Adrian Burr Murray & Jill Lander Janet Smith Warren & Sandra Cant Stephen Lloyd Julian Smith & Craig McAlpine Barry & Trish Clapham David Lovell Martin Sowter & Alison Pereira Robert & Louise Clark MakeReady Ltd Lindsay & Janet Spilman Sally Clatworthy Marshall Day Acoustics Rua & Clarrie Stevens Charitable John & Margaret Cullen Geraint A. Martin & Sam Cliffe Trust Stephen & Laura Dee Dame Rosanne Meo Brian & Pam Stevenson Paul & Alison Dyson Dr Tom & Ann Morris Haydn Staples & Lynley Stewart Richard Ebbett Robert & Lynne Morton Dame Adrienne Stewart Charles & Tana Fishman Anna Nathan Penelope Weber Richard Frechtling & Carole McIntosh Denver & Prue Olde Mike & Debbie Whale Mark & Amber Gatward Penelope Peebles & James Peter Wilson & Gerda McGechan Barbara Glaser & Richard Panting Sutherland Gae Griffiths Ralph & Penny Roberts 3 anonymous donors John Griffiths Dr Sylvia Rosevear

For information about the Chair Donor programme please contact Laura Dee, Director of Development, on (09) 638 6266 ext 233 or [email protected], or Charlotte Crocker, Annual Giving Programmes Executive, on (09) 638 6266 ext 234 or [email protected]

20 apo.co.nz Auckland Philharmonia Orchestra 21ST CENTURY CIRCLE

The 21st Century Circle recognises donors who have made gifts in their wills to the Auckland Philharmonia Foundation. The Auckland Philharmonia Foundation is dedicated to securing an inspirational future for the APO through its endowment fund. All gifts made in wills help build this endowment, which will enable the orchestra to go from strength to strength and play a part in shaping the cultural future of Auckland.

June Allen Judy Ganley Carolyn Reid Dr Ian Ball Roger Giese Claire Reynolds Carol & Alan Best Barbara Glaser Julia Reynolds Kevin Bishop Jean Glenister Dr Sylvia Rosevear John Boscawen Pamela Gould David & Dian Ross Warren & Sandra Cant Gae Griffiths Stewart & Pauline Rundle Canterdale Trust Lois & Richard Hadfield Sidney Smith Angela Caughey Graeme & Margaret Hitch Pamela Chalmers Robert & Hilary Howard Gordon & Madeline Stern Kath Cherney Eric Johnston & Alison Buchanan Ian Stevenson Barry Clapham Frank Jones Anne Stewart Joy Clark Pare Keiha Garrick Stuckey Lis & Chris Darlow Liggins Family Trust Elizabeth Swier Tom Darrington Ken & Pat Meiklejohn Belinda Vernon C L Davidson Pamela Melding Sir James Wallace Christopher Devereaux Darryl Milner Pauline Wetton Ed & Una Dowding Dr Tom & Ann Morris Peter Wilson & Gerda McGechan Robert G Eady Denver & Prue Olde Lynette Youlden Richard Ebbett Jackie Pittman Graeme Edwards Dame Judith Potter There are a further 67 anonymous Robert & Anne Feigel John & Jessica Pybus promised bequests.

The Auckland Philharmonia Foundation gratefully acknowledges recent bequests advised and received from the estates of Susan Middleton, Marin Segedin, Sylvia Hilton, Elizabeth Bowie and donations from Kevin Bishop and anonymous donors. The Foundation also gratefully acknowledges the gift of the Ikebana International Auckland Trust, 2008-2018. For information about leaving a gift in your will to the Auckland Philharmonia Foundation please contact Rachel Jefferies, Trusts & Foundations Manager, on (09) 623 5628 or [email protected]

Verdi’s Aida 2018 21 Auckland Philharmonia Orchestra BOARD AND SUPPORT ORGANISATIONS

PATRONS AUCKLAND AUCKLAND Dame Kiri Te Kanawa, DBE, ONZ PHILHARMONIA PHILHARMONIA ORCHESTRA Dame Catherine Tizard, GCMG, ORCHESTRA BOARD GCVO, DBE, ONZ, QSO Geraint A. Martin (Chairman) SOCIETY EXECUTIVE COMMITTEE Sir James Wallace, KNZM, ONZM Leigh Auton Secretary Carl Wells Dame Rosanne Meo, DNZM, OBE Richard Ebbett Chairperson Huw Dann Lope Ginnen Xin (James) Jin VICE PATRON Pare Keiha Martin Lee Dame Jenny Gibbs, DNZM Kieran Raftery QC Tim Sutton Eric Renick Sue Wedde Julian Smith

Auckland Philharmonia Orchestra FOUNDATION

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

Auckland Philharmonia Orchestra SENIOR MANAGEMENT

Chief Executive Barbara Glaser Director of Artistic Planning Director of Development Deputy CEO/Director of Ronan Tighe Laura Dee Business Partnerships & Director of Operations Paul Christ Director of APO Connecting Marketing Stuart Angel Director of Business Services Thomas Hamill Heather Wallace

22 apo.co.nz Auckland Philharmonia Orchestra CRESCENDO

Crescendo is the APO’s membership programme. It provides opportunities that will enrich your experience of the APO. You can see behind the scenes, get closer to the musicians, meet the artists and conductors, receive inside information on the season’s programme and get to know the wider APO family. Events run throughout the year and offer something for everyone. Membership begins at $75 and new members are always welcome. We would like to thank all Crescendo members for their support. It is greatly appreciated. Contact: Charlotte Crocker, [email protected], (09) 638 6266 ext 234

Auckland Philharmonia Orchestra FRIENDS

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

PRESIDENT SECRETARY Bryce Bartley Anne Norris

Lend a helping hand – Join the APO Friends The Friends of the APO are an integral part of the Auckland Philharmonia Orchestra family. Founded in 1981, the Friends help the orchestra in a variety of ways including selling programmes at concerts and providing suppers for guest artists and the orchestra. Funds raised from Friends events, subscriptions and raffles are donated to support the APO Connecting programme of education, outreach and community initiatives, and the Chair Donor programme. Membership to the Friends is open to all. Annual dues are a modest $30 per person and benefits include newsletters, invitations to monthly Meet the Artist mornings and, most of all, the satisfaction of knowing that your contribution helps support an essential element of Auckland’s cultural life. Contact: Anne Stewart, Membership Secretary: [email protected]

Verdi’s Aida 2018 23 Auckland Philharmonia Orchestra SPONSORS

Auckland Philharmonia Orchestra gratefully acknowledges the significant contributions made by the following corporate sponsors.

PLATINUM

GOLD

SILVER

BRONZE

Adrian Malloch Photography Karajoz Coffee Orongo Bay Homestead Artedomus (NZ) Ltd Marshall Day Acoustics Scarecrow – deli, café & florist Impressions International Naxos Music Group St John

24 apo.co.nz J.S. Bach St Matthew Passion

Conductor Stephen Layton Christus Laurence Williams Soprano Sara Macliver Mezzo-soprano Helen Charlston Tenor Gwilym Bowen Baritone Michael Craddock University of Auckland Chamber Choir Director Karen Grylls

7.30pm Thursday 4 October Auckland Town Hall

Book ticketmaster.co.nz 0800 111 999 Service fees apply. PO Box 7083 Wellesley St Auckland 1141 Phone (09) 638 6266 APO Ticketing (09) 623 1052 apo @ apo.co.nz apo.co.nz aporchestra @aporchestra aporchestra