THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT

MOZART’S DON GIOVANNI

7.30pm, Friday 19 July Auckland Town Hall Auckland Philharmonia Orchestra (APO) is New Zealand’s only full-time, professional, city-based symphony orchestra serving the Auckland region with a comprehensive programme of concerts, education and outreach activities. In more than 70 performances annually, the APO presents a full season of symphonic work showcasing many of the world’s finest classical musicians. Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive contemporary artists. The APO is proud to support both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances. It also works in partnership with Auckland Arts Festival, Auckland Live and the New Zealand International Film Festival, among other organisations. Through its numerous APO Connecting (education, outreach and community) initiatives, the APO offers opportunities to more than 20,000 young people and adults nationwide. More than 250,000 people hear the orchestra live each year, in the concert hall and through video live streams

AUCKLAND PHILHARMONIA ORCHESTRA and radio broadcasts. Many thousands more are reached through special events, recordings and other media. CONTENTS

Welcome 2 Auckland Philharmonia Orchestra 2019 3 Mozart’s Don Giovanni 5 Synopsis 6 Programme note 8 Cast 10 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 Stay at Enjoy Tabatha McFadyen © 2019

Layout and print management

The flowers presented on stage are generously Creative concept donated by Scarecrow – Auckland city’s deli, café

and florist MOZART’S DON GIOVANNI2019 1 WELCOME

Don Giovanni is described as “the opera of The Trusts Community Foundation (TTCF) is all operas”. Mozart’s genius not only lies in delighted to be a strong supporter of Opera the power of his music, but also in his ability in Concert, the cornerstone of the Auckland to create rich, three-dimensional characters. Philharmonia Orchestra’s annual programme.

We’re thrilled that Giordano Bellincampi TTCF’s partnership with the APO was is leading the orchestra to tell the story of established in 1998, a relationship that the complex relationships between these continues to grow and develop. We characters and the ultimate downfall of increasingly value the role that the APO the Don. He leads a stellar cast of singers plays. It delivers not only world-class who have performed Don Giovanni with main stage concerts but also APO prestigious opera companies and houses Connecting, an extensive community and around the globe. education programme for toddlers through to aspiring professional musicians – We’re delighted to once again bring this a programme also supported by TTCF. production to life through the expertise of Stuart Maunder, who returns following TTCF is proud to have West Auckland’s his wonderful stage direction of APO’s Portage and Waitakere Trusts as Otello, Manon Lescaut and Aida. foundation members and it is the Portage trustees’ consistent recommendations that We wouldn’t be able to bring you this ensure TTCF’s ongoing support of APO’s world-class production without the Opera in Concert is an easy decision. support of our friends at The Trusts Community Foundation. We also thank We very much hope that you will enjoy New Zealand Opera for its support. tonight’s operatic masterpiece, Mozart’s Don Giovanni, performed by wonderful A massive thank you to you, our audience, guest artists and Auckland’s own world- for joining us tonight. We hope you enjoy class orchestra conducted by Music the concert. Director, Maestro Giordano Bellincampi. Barbara Glaser Ross Clow Chief Executive Chairman

APO.CO.NZ Auckland Philharmonia Orchestra The Trusts Community Foundation 2 AUCKLAND PHILHARMONIA ORCHESTRA 2019

Music Director Cellos Trombones Giordano Bellincampi David Garner + Douglas Cross β James sang-oh Yoo # Ben Lovell Green+ Concertmaster Liliya Arefyeva Andrew Beer Bass Trombone Katherine Hebley Timothy Sutton * Associate Concertmaster You Lee Liu-Yi Retallick Callum Hall Tuba Tak Chun Lai * Assistant Concertmaster Basses Miranda Adams Gordon Hill β Timpani + Steven Logan β First Violins Annabella Zilber + Artur Grabczewski # Oliver Simpson Percussion # Lauren Bennett Evgueny Lanchtchikov Eric Renick β Mark Bennett Matthias Erdrich Jennifer Raven # Elzbieta Grabczewska Michael Steer Shane Currey Rachel Moody Flutes Harp Ainsley Murray β Melanie Lançon Ingrid Bauer * Alexander Shapkin Kathryn Moorhead + Yanghe Yu Guest Musicians Piccolo Lucy Qi Zhang Violins Jiwon Lee, Naomi Lee, Jennifer Seddon-Mori * Yuri Cho Manshan Yang, Hyewon Kim Oboes Cello Nils Hobiger Second Violins Bede Hanley β Bass Lachlan Radford Dianna Cochrane β Camille Wells + Principal Clarinet Xin (James) Jin + Brad Whitfield William Hanfling # Cor Anglais Bassoon Preman Tilson Rae Crossley-Croft = Martin Lee * Fortepiano David Kelly Jocelyn Healy Clarinets Mandolin Dylan Lardelli Milena Parobczy Bridget Miles (Bass Clarinet) + Ewa Sadag James Fry (Eb Clarinet) + Katherine Walshe Lucia Siwy Bassoons Harris Leung ~ Ingrid Hagan β Yang Rachel Guan Ebbett + Violas Robert Ashworth β Horns David Samuel + Nicola Baker β Christine Bowie # Emma Eden * Anne Draffin # Carl Wells # Simon Williams # Helen Bevin ß SECTION PRINCIPAL David Kay Gregory McGarity + ASSOCIATE PRINCIPAL Susan Wedde Trumpets = SECTION LEADER EMERITUS Wen Chuan Lin β Huw Dann * PRINCIPAL Rainer Saville + # SUB PRINCIPAL # Josh Rogan ~ APO ORCHESTRAL FELLOW MOZART’S DON GIOVANNI2019 3 Proudly helping the APO bring you the best international talent.

www.malcolmpacific.com THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT

MOZART’S DON GIOVANNI PRESENTED BY AUCKLAND PHILHARMONIA ORCHESTRA IN ASSOCIATION WITH NEW ZEALAND OPERA

Conductor Giordano Bellincampi Don Giovanni Richard Šveda Leporello Robert Gleadow Donna Elvira Brigitta Kele Donna Anna Ekaterina Siurina Zerlina Natasha Wilson Masetto Morgan Pearse Il Commendatore Pelham Andrews Don Ottavio Adam Frandsen The Freemasons New Zealand Opera Chorus

Stage Direction Stuart Maunder AM MOZART’S DON GIOVANNI2019 5 that she stay behind with him. Her insistence that all will be fine, seeing as she SYNOPSIS is “in the hands of a knight” is cold comfort to her enraged groom, who is led away Spain, mid-18th century along with the other guests by Leporello. Finally alone with Zerlina, he calms her ACT I conscience about their budding affair by proposing marriage to her. She A Betrayal, A Murder and an Oath enthusiastically agrees. An embittered servant (Leporello) stands Best Laid Plans guard while his master (Don Giovanni) is occupied with a woman. Giovanni rushes However, Elvira appears and betrays his out, pursued by an increasingly hysterical true character, begging Zerlina to flee woman (Donna Anna), calling for aid to from him. Anna and Ottavio also enter, stop her masked ‘betrayer’. Hearing the having come with the intention of asking voice of her father (the Commendatore) Giovanni to help them in avenging the she goes back into the house. The Commendatore’s murder. He defends Commendatore challenges Giovanni to himself from Elvira’s tirade by reassuring a duel, but is immediately slain. Giovanni them that the woman is mad. They’re not and Leporello flee the scene. Anna returns sure who to believe. As Giovanni leaves, Anna suddenly recognises his voice as with her fiancé (Don Ottavio) to help her the man who betrayed her, asking Ottavio father, only to discover that he is already once again to avenge her. dead. She makes Ottavio swear to avenge his murder. Don Giovanni arrives back at his castle, A Woman Scorned seemingly unbothered by the day’s events. He orders Leporello to prepare the party. In the morning, Don Giovanni and Leporello overhear a woman desperately So Close and Yet So Far seeking the lover who has abandoned Zerlina apologises to Masetto, who her. Don Giovanni sees an opportunity for forgives her but remains suspicious. Don ‘consolation’ and approaches her, realising Giovanni leads them back to the party. too late that the woman is actually Donna Dressed for a masquerade, Anna, Elvira Elvira; the traitor she’s after is him. He and Ottavio approach the door of the evades her accusations, throwing it instead castle. The unknown guests are welcomed to Leporello to defend his character. in. Giovanni separates Zerlina from the He slips away, leaving Elvira to hear in rest of the party, but when she screams excruciating detail just how many other the three unmask themselves and confront women have been in her position. She Giovanni, who pins the blame on Leporello swears to avenge her disgrace. and manages to slip away. Everyone Loves a Wedding Two peasants (Masetto and Zerlina) are celebrating their wedding. Giovanni and Leporello happen upon them, and the nobleman is immediately taken with the bride. He insists on throwing a lavish party for the couple at his castle. Zerlina happily

APO.CO.NZ acquiesces to Don Giovanni’s suggestion 6 ACT II Mistaken Identities Giovanni is besotted with Elvira’s maid. So that he may seduce her, he forces Leporello to change into his clothes and lure Elvira away from the house. Masetto enters looking for Giovanni, who, because of his disguise, he mistakes for Leporello. Giovanni beats him to a pulp. Zerlina appears and soothes his pain. Meanwhile, Elvira has forgiven who she believes to be Giovanni, to the point that when Anna, Ottavio, Zerlina and Masetto come across the couple and want to kill him, she begs for mercy on his behalf. In mortal terror, Leporello exposes who he truly is and makes a narrow escape. Guess Who’s Coming to Dinner? Giovanni and Leporello reconvene in the graveyard, where their jocular conversation is interrupted by a voice informing Giovanni that he will have his last laugh before the next dawn. It is the statue of the murdered Commendatore. Leporello is terrified, but Don Giovanni insists on inviting him to dinner. The Last Supper Giovanni orders the food to be served and eats ravenously. Elvira once again appears. She knows that he doesn’t love her but still begs him to change his life to save himself from eternal damnation. She is interrupted by a knocking on the door: the Commendatore has arrived to take Don Giovanni up on his invitation. He offers Don Giovanni a choice: repent or suffer the flames of hell. Don Giovanni defiantly chooses the flames. Anna, Ottavio, Masetto and Zerlina arrive to take their much anticipated revenge; Leporello informs them that somebody else beat them to it, and joins the others in contemplating his future, informing the audience that such

is the end which befalls evildoers. MOZART’S DON GIOVANNI2019 7 And this is where the statements of ‘greatest opera ever written’ could raise PROGRAMME eyebrows roday: surely by now the glamorous rendering of “irresistible man destroys women’s lives” is a narrative of NOTE which we’ve all grown somewhat tired? However, the eternal strength of Don Tchaikovsky. Wagner. Freud. Some of Giovanni is that Mozart doesn’t hold his history’s greatest minds, all of them on the protagonist’s view of the female characters. record asserting that Don Giovanni is the greatest opera ever written. They’re not Each of the three principal female alone. George Bernard Shaw said that it characters starts as a recognisable was a work “upon whose art no human archetype: the Damsel in Distress (Donna hand can improve”. Gustave Flaubert went Anna), the Hysterical Woman Scorned one further and said that it was one of “the (Donna Elvira), and the Sexy Ingénue (Zerlina). However, they constantly three finest things God ever made”. (The contradict themselves out of these neat other two are Shakespeare’s Hamlet and categorisations, riddled with all-too-human the sea, for those of you playing at home.) ambiguity in their virtues, vices and intent. The supply of things to marvel at in this Donna Anna, for example, is almost piece is inexhaustible. The cooperation a complete mystery. It’s never made between Mozart’s music and Lorenzo da completely clear what transpires between Ponte’s words, for example, is seamless, her and Giovanni at the start of the as are the deft dramaturgical shifts from opera, in terms of consent. Similarly, her darkly ironic humour to deeply-felt pathos. reticence to marry Ottavio is unorthodox It spawns a philosophical reckoning about and never really satisfactorily explained. our relationship to morality, at the same Musically, she encompasses everything time casting aspersions on the aristocracy from fiery rage to ethereal innocence, and in a subtle, but subversive, way. it’s left to us to decide what the truth is, But perhaps most compelling is the raising the stakes of every counter. speed and intensity that we are thrown Zerlina, meanwhile, is infinitely more worldly into fully-fledged relationships with these than one would expect. The ‘innocent bride’ characters. They’re all so multi-faceted, is actually very sexually empowered, and so human, that, regardless how extreme also very ambitious, only becoming truly their situations are, it’s impossible for us to tempted to betray her new husband when keep our distance from them. Don Giovanni tells her he could change The only precedent that Mozart and da her fate and elevate her status. Ponte really had for operas of this calibre Right at the heart of the story stands was themselves. Their first collaboration Donna Elvira. Despite her unorthodox zeal The Marriage of Figaro had premiered to get Don Giovanni back, she cannot be in Prague to huge acclaim in 1786, mistaken for some fool who ought to have and a follow-up piece was demanded known better when it comes to knights immediately. Da Ponte set to work and their promises. From her first moment updating a previous libretto of his based on stage, she sings music of tremendous, on the myth of Don Juan, the notorious almost militaristic dignity. Later on, when libertine characterised by his unrepentant she confesses in an aria that no matter

APO.CO.NZ consumption of women. how much he has humiliated her she will 8 always love him, it’s not an outpouring of typically operatic self-pity. Instead, her own ambivalence is mirrored in descending lines that circle endlessly around themselves. She embodies the agonising truth of what unconditional love looks like. Of course, in his ability to ensnare each of these fundamentally different women, Don Giovanni’s magnetism becomes all the more apparent. In the same way that he eschews moral convention, he ignores operatic convention too, not giving us the satisfaction of the compulsory aria to explain his inner thoughts. The longest piece of solo singing he has, rather, comes when he seduces Elvira’s nameless maid. There’s no peacockish display, rather an arrestingly simple melody. “Come to the window”, he asks her sweetly. She does, and of course so do we. Despite all our intelligence and moral strength, we too end up being drawn in and tossed away – Don Giovanni’s greatest conquest, it turns out, is us.

© COPYRIGHT TABATHA MCFADYEN 2019 MOZART’S DON GIOVANNI2019 9 10 APO.CO.NZ performances of Wagner’s operatic the Auckland Philharmonia, andgala Aida andPuccini’s ManonLescaut with included concertperformances ofVerdi’s Highlights ofrecentseasonshave choral andvocalworks. ofsignificant and forhisinterpretations and Scandinaviansymphonictraditions, prowess intheCentralEuropean,Italian music, heisparticularlycelebratedforhis classical, romanticandcontemporary With anenormousrepertoireembracing ensemble inDenmark. Copenhagen, theleadingcontemporary Chief ConductoroftheAthelasSinfonietta and, between1997-2000 hewasalso Philharmonic Orchestra from2000-2006 2013, MusicDirectoroftheCopenhagen Danish NationalOpera,Aarhusfrom2005- 2012-2017, GeneralMusicDirectorofthe Director oftheDuisburgPhilharmonicfrom Orchestra from2013-2018, GeneralMusic Symphony Conductor oftheKristiansand of IPomeriggi Musicali,Milan,Chief Previously, hewasthePrincipalConductor debut in1994. before makinghisprofessionalconducting trombonist withtheRoyalDanishOrchestra at ayoungage,hebeganhiscareeras andmovingtoCopenhagen inItaly Born of theAuckland PhilharmoniaOrchestra. Giordano BellincampiistheMusicDirector GIORDANO BELLINCAMPI GIORDANO

Conductor promotion of Italian music. promotion ofItalian forhisinternational President ofItaly also holdsthetitleofCavalierefrom for servicestoDanishculture,andhe bestowed bytheDanishRoyalFamily the OrderofDannebrog,anaward In 2010 hewascreatedaKnight of international conductingcompetitions. serves asajurymemberfornumberof also regularlygivesmasterclassesand musicians andconductors,he coming generationsoforchestra is dedicatedtotheworkofeducating Danish Academy, GiordanoBellincampi As AssociateProfessorattheRoyal Orchestra attheNationalMusicCamp. the youngplayersofAustralianYouth singing contest,andworkingalongside Competition andtheNewZealandAria Zealand’s prestigiousMichael HillViolin his educationalwork,conductingNew Maestro Bellincampiwillalsocontinue Giovanni toAucklandDon Philharmonia. bringing aconcertperformanceofMozart’s as returningtoToledo Symphony, and and Orchestra SinfonicaSiciliana,aswell National Symphony, Victoria Symphony, the Orchestra dellaToscana, Estonian Bellincampi makesappearancesalongside In the2018/19 season,Giordano Nielsen, SibeliusandBeethoven. Concertgebouw Hall,inrepertoireby Amsterdam’s to visit legendary acclaimed Mercatorhalle, aswellastrongly- of theorchestra’s homeinDuisburg’s Philharmonic tomarkthereopening and orchestral musicwiththe Duisburg supported byFrances andBillBell. supported is performance Giordano Bellincampi’s Vienna Volksoper. at Onhishomestage rolebefore theViennesesame publicin in Prague;heafterwards appearedinthe Opera role asa22-year-oldintheState Papageno (The MagicFlute),hisdebut fantutte); operas: Guglielmo(Così comprises characters fromMozart’s supporting roles.Hiscorerepertoire has successfullyplayedmanylead and Oper amRheininDüsseldorf,wherehe has beenasoloistoftheDeutsche the 2010/2011 seasonRichard Šveda From Smola Förderpreis inBadenBaden. Gabor BelvedereinVienna, andEmmerich Tenor FranciscoViñas Hans inBarcelona, Trnava, ConcursoInternacionaldeCanto Trnavský InternationalCompetitionin Competition inKarlovyVary, M.Schneider- abroad: A.DvořákInternationalSinging international singingcontestsathomeand He hascompetedsuccessfullyatmany Dagmar Livorová. DavidSyrus,Zlaticaand Statsenko, Boris Deborah Polaski, FranzGrundheber, singing coursesledbyPeter Dvorský, and perfectedhisartatinternational Kunst inGraz,Austria, (Kunstuniversität) fürMusikunddarstellende the Universität Bratislava. Hecontinuedhisstudiesat opera singingattheConservatoryin The baritoneRichard Švedastudied DON GIOVANNI DON RICHARD ŠVEDA

Baritone her support for talented young artists. her supportfortalented Gruberová, aspartof world-famous Edita has performedinconcertsalongsidethe Papageno. Since2014 Richard Šveda and OperaComiqueinParisrolesof Theatre inMoscow Bolshoi Barcelona, Shanghai, GranTeatro delLiceuin Berlin, performingattheGrandTheatre and hehastouredwithKomische Oper and Prinzregententheater inMunich, Vienna Musikverein,Vienna Volksoper Essen, ConcertgebouwAmsterdam, Semperoper Dresden,AaltoTheatre the followingvenuesamongothers: andconcertappearances at stage Bizet’s Carmen.Hehasmadesuccessful andEscamillioin in MadameButterfly Merry Wives ofWindsor, Scharpless in Puccini’s, Herr Bohéme Thein Fluth Richard ŠvedaasMarcelloandSchounard Apart fromMozart,onemayseeandhear Theatre inPrague. appeared intheserolesatThe Estates Giovanni, andhehas the titleroleinDon in The MarriageofFigaroandalsofills Düsseldorf heappearsasCountAlmaviva Dame JennyGibbsDNZM. by Richard issupported Šveda’s performance 11 MOZART’S DON GIOVANNI 2019 12 APO.CO.NZ Municipal in Santiago, Chile. Municipal inSantiago, and CollineinLabohème attheTeatro de Montréal’s The Marriageof Figaro Grand Opera,thetitleroleinOpéra Tutte, AngelottiinTosca withHouston Fan Opera asGuglielmoinCosì Giovanni, adebutatGlyndebourne Champs-Elysées asLeporello in Don performances withtheThéâtre des Gleadow’s operatichighlightsinclude Symphony Orchestra. Manfred Honeck withthePittsburgh Handel’s Messiahunderthebatonof and Haydn’s The Creationaswell the Vancouver SymphonyOrchestra; de Paris;Dvorak’s Materwith Stabat in IlPrimoOmicidioatOpéraNational at MusikfestBremen;Voce diLucifero Dapertutto inTales ofHoffmann also of Lindorf,Coppélius,Miracle,and de l’Harmonie;thefour-partrole at MusikfestBremenwithLeCercle ofSeville inThe Barber include Basilio Highlights ofthe2018/19 season Opera CompanyEnsembleStudio. Opera CoventGardenandtheCanadian Young ArtistsprogramoftheRoyal since hisgraduationfromtheJetteParker aroundthe world and concertstages continues tomakehismarkonoperatic Canadian bass-baritoneRobertGleadow LEPORELLO GLEADOW ROBERT

Bass-baritone Symphony Orchestra. Jean-Christophe SpinosiandBaltimore the EnsembleMattheusconductedby Mark Elder, Requiemwithboth theMozart with theHalleOrchestra conductedby Passion andMozart’s MassinC-minor baton ofEmmanuelleHaïm,St.Matthew with theOrchestre d’Astreeunderthe Christmas Oratorio,aEuropeantour inJ.S.Bach’s Dessay alongside Natalie includeaperformanceinParis stage appearancesontheconcert Notable The Trust. JamesWallace Arts by Gleadow’s issupported Robert performance

Turandot, Desdemonain Otello. inLeContessa nozzediFigaro , Liuin Donna Elvira,Micaela;Violetta Valery, guest andcouldbeheardasLauretta, ensemble andafterwardsapermanent 2012-16 seasonsasamemberofthe Nedda inPagliacci.Shewastherethe and Düsseldorf asMimì‘inLaBohème appeared attheDeutsche OperamRhein During theseason2011-12 Kele Brigitta Kálmán’s DieCsárdásfürstin. andSylvaVarescuDie lustigeWitwe in , HannaGlavaryinLehár’sZigeunerbaron inStrauss’sballo inmaschera, Saffi Der in Bizet’s Carmen,AmeliainVerdi’s Un Mimì inPuccini’s, Micaela LaBohème PaminainMozart’ssang , DieZauberflöte Hungarian OperaCluj-Napoca,she From 2007 to2012, assoloistofthe Prize oftheHungarianOperaCluj-Napoca. Mergentheim andin2007 theAgnesKriza Jury attheInternationalCompetitionBad shewontheSpecial Prize ofthe In 2006, Farcaş (till2005). with GheorgheRoşuundAlexandru Dima MusicAcademyinCluj-Napoca Lavinia Cherecheş andattheGheorghe singing attheUniversityinOradeawith Kele studiedRomanian sopranoBrigitta DONNA ELVIRA DONNA KELE BRIGITTA

Soprano NP attheOpéraduRhinStrasbourg. NP Radio Orchestra Bucharest and2020ina in Her nextdebutwillbeintheroleofLeonora Festival. the Masada – Opérad’Avignon, MicaelainCarmenat du RhinStrasbourg,MimiinLaBohème Suzel inL’amico du RhinStrasbourgandNCPA Beijing, Paris, Opérad’Avignon, OpéraNational New York, NeddainPagliacci–Opérade Opera Opéra deParisandMetropolitan – inLaBohème be mentioned:Musetta Among herengagementsabroadshould Richard Ebbett. by Brigitta Kele’s issupported performance Il Trovatore –2019 withtheNational Fritz –OpéraNational

13 MOZART’S DON GIOVANNI 2019 14 APO.CO.NZ Arena diVerona. andRigolettoatthe Liceu Barcelona ICapuletieMontecchi atthe Guilietta pêcheurs deperlesatOperaAustralia, Canadian OperaCompany, LeilaLes withthe alla Scala,Violetta Latraviata LeSusanna nozzediFigaroatTeatro Festival, Giovanni attheSalzburg Don di FigaroattheOperadeParis,Zerlina and Hamburgische Staatsoper, Le nozze Berlin Glyndebourne Festival, Staatsoper Pittsburgh OperaanddeNice, Staatsoper,d’amore forBayerische for theRoyalOperaHouse,L’elisir bohème, RigolettoandGianniSchicchi , MimiinLa Pamina inDieZauberflöte Giovanni, Wienerin Don Staatsoper, Her operaticrolesincludeDonnaAnna St Petersburg duringherstudies. competitioninof theRimski-Korsakov Moscow Theatre andwasaprizewinner became asoloistwiththeMunicipal Hvorostovsky attheNovayaOpera.She the world-renownedbaritoneDimitri professional debutsingingopposite Arts, Moscow, whereshemadeher at theRussianAcademyofTheatrical studied Europe andAmerica.Ekaterina her tomanyofthetopoperahousesin enjoys aninternationalcareerthattakes Siurina Russian sopranoEkaterina DONNA ANNA DONNA SIURINA EKATERINA

Soprano accompanied byIainBurnside (Delphian). the CompleteRachmaninov songsdisc, year, shefeaturesamongstotherson and Rossini.Alsoreleasedthesame featuring songsbyVerdi, Bellini,Donizetti in 2014, (OpusArte) AmoreeMorte She releasedherdebutsoloalbum Desdemona in and also makeherroledebutsasIolanta will engagements. Forthcoming Ekaterina Colón, alongsideotherEuropeanconcert Traviata andGildainRigoletto forTeatro to theWiener asVioletta inLa Staatsoper Philharmonique duLuxembourg,areturn GimenoandOrchestre with Gustavo Gilda RigolettoinLuxembourgandParis Highlights ofthe2018/19 seasoninclude Philadelphia Orchestra. Dublin HandelandMessiahwiththe Stutzmann attheNationalConcertHall 9conductedbyNathalie Beethoven France conductedbyMaestroMazzola, Stabat MaterwiththeOrchestre d’Illede appearances includedtheRossini House CoventGardenasMimi.Concert Opera andareturntotheRoyal Adina inL’elisir d’amoreforPittsburgh GiovanniDon attheWiener Staatsoper, Staatsoper, herdebutasDonnaAnnain attheBayerische d’amore andFalstaff Recent engagementsincludeL’elisir Mazzola andGuillaumeTourniaire. Gardiner, Enrique Richard Bonynge, Oren, PhilippeJordan,SirJohnEliot Yuri Temirkanov, EvelinoPidò,Daniel today’s prominentconductorsincluding where shehasworkedwithmanyof recognised ontheconcertplatform, is soprano,Ekaterina As aversatile music andopera. by andinmemoryofLesley French, wholoved issupported Ekaterina Siurina’s performance Otello. Eric Johnsonand AlisonBuchanan. by Natasha Wilson’s issupported performance opera series,‘BittersweetObsessions’. Baroque’ concertseries,aswell astheir the sopranosoloistinboththeir ‘Spanish the AustralianBrandenburgOrchestra as hasperformedinternationallywith Natasha tour’ versionofThe ElixirofLove. and asAdinainthe‘OperaSchools inL’ElisirCandide, Giannetta D’amore, also performedwiththemasPaquettein touring productionofThe Mikado.Shehas New ZealandOpera,asamemberoftheir madeherprofessionaldebutwith Natasha since 2016. Foundation’s mentoringprogramme also beenamemberofKiriTe Kanawa Malvina EmergingArtistsandshehas In 2018, wononeoftheDame Natasha Ulloa. Music, underthetutelageofCésar FranciscoConservatory of at theSan Post-Graduate DiplomainVocal Studies, Francisco,whereshecompleted her San wasrecentlybasedin Auckland. Natasha vocal performance,fromtheUniversityof (Honours, first-class),majoringinclassical ofMusic,soprano, andhasaBachelor WilsonNatasha isaNewZealand-born NATASHA WILSON WILSON NATASHA ZERLINA

Soprano the prestigiousLiesAskonasPrize. International OperaSchool, wherehewon studied attheRoyalCollegeof Music Wolftrap OperainVirginia. MorganPearse in Corigliano’s GhostsofVersailles for Studio. Hewentontoperform Figaro a memberoftheHoustonGrandOpera During the2014/15 seasonMorgan was Choir Cambridge. Gabrieli ConsortandKing’s College Orchestra, AcademyofAncientMusic, Netherlands RadioPhilharmonic the orchestra oftheOpernhausZurich, Moscow MusicaViva ChamberOrchestra, with theBirminghamPhilharmonic, at Wigmore Hall,appearancesassoloist Concert highlightsincludeasolorecital Opera. ) forNewZealand and Figaro(IlBarbiere Festival, andBelcore(L’Elisir d’Amore) Herring)fortheBuxton Sid (Albert Papageno ( include Figaro(Le nozzediFigaro)and Other recentandfutureoperahighlights returned to singtheroleagainin2017/18. and ofSeville Figaro intheBarber debut atEnglishNationalOperasinging In 2015/16 MorganPearse madehis The MurrayShawFamilyTrust. by issupported Morgan Pearse’s performance MASETTO PEARSE MORGAN ) inKarlsruhe, Die Zauberflöte

Baritone 15 MOZART’S DON GIOVANNI 2019 16 APO.CO.NZ by Anonymous. Pelham Andrews’ issupported performance Verdi, Mozart,andFauré. and theRequiemsMasses ofBrahms, Symphony, Towards FirstLight,Messiah, in such repertoireastheBeethovenNinth Centre andAdelaideConcert Collective Philharmonia Choir, Welsh Millenium Aalborg SymphonyOrchestras, Sydney Adelaide, Queensland,Tasmanian and Pelham hasperformedinconcertwiththe South Australia. Opera role ofThe Mikado,allforState ) andinthetitle (MadamaButterfly Bonze Little Vixen), Ben(MadelineLee), The (Cunning be heardasParsonandBadger (La Vida Breve),andthisyearPelham will Nourabad (Pearlfishers)andTio Salvador ), (Meistersinger vonNürnbergAct III Recent performancesincludePogner Mephistopheles (LaDamnationdeFaust). ), Colline(Labohème ) and del Destino Lodovico (Otello),PadreGuardianoForza Timur (Turandot ), Sparafucile(Rigoletto performing repertoirewhich includes English NationalOperaandothers, of SouthAustralia,Victorian Opera, Opera worked withOperaAustralia,State Australian bassPelham Andrewshas IL COMMENDATORE IL COMMENDATORE ANDREWS PELHAM

Bass several American andDanishorganizations. scholarships fromMoores,Yale, Curtis,and Auditions andhasbeenawarded grantsand OperaNationalCouncil Metropolitan He wasaregionalfinalistinthe 2008 Tivoli SymphonyOrchestra, Copenhagen. Farinelli intheTivoli ConcertHallwiththe with theHaifaSymphonyOrchestra, and Opera Teatr Wielki, Duke(Rigoletto ) Ishmael (MobyDick) atPolish National Rodolfo (Labohème)atOperaHedeland, Ravenswood (LuciadiLammermoor)and Mahler ChamberOrchestra, SirEdgardodi Gothenburg, “DasLiedvonderErde”with Opera, Tamino) in (DieZauberflöte Alfredo (LaTraviata) atDanishNational di Lammermoor)atOperaHedeland, Past engagementsincludeEdgardo(Lucia House CoventGardenLondon. and Narraboth(Salome)atRoyalOpera Easter Festival, JungeDiener(Elektra) ( Symfoniorkester, AugustinMoser Rex)atMalmö Shephard (Oedipus Recent andfutureengagementsinclude bursting withenergy.” tenor voicethatis“shining,effortless,and gaining internationalattentionforalyric Danish tenorAdamFrandsenisquickly Helen Gaeta. Adam by Frandsen’s issupported performance DON OTTAVIO DON ADAM FRANDSEN ) at Salzburg Meitersinger vonNürnberg)atSalzburg

Tenor Soprano THE FREEMASONS NEW Chelsea Dolman * Fiona Li ZEALAND OPERA CHORUS Anna Simmons Director Lindy Tennent-Brown Elizabeth Mandeno Répétiteur David Kelly Carla Parry The Freemasons New Zealand Opera Mezzo Chorus is auditioned annually and has Meghan Carppe members in three separate choruses Jessica Duirs around the country. Its members are Dilys Fong trained and accomplished singers, Helen Kim requiring both the technique to sing Deborah Rogers * across an orchestra and the ability to Tenor perform on an operatic stage. Many Andrew Grenon * members of the chorus have gone on Harry Grigg to success internationally, and to have Nathan Hauraki leading roles with New Zealand Opera. Manase Latu * The Chorus features not only in New Chris McRae Zealand Opera’s mainstage productions David Wallace but also in a wide variety of concerts Baritone and special events. It has received Dragan Atanasov considerable acclaim for its performances, Samuel Downes with one critic describing it as “absolutely Alexander Garvey superb both dramatically and musically” Rhys Hingston and others hailing its “remarkable singing” Ben Kubiak and “sharp, incisive work”. Thomas Roeshol Lindy Tennent-Brown has recently Samson Setu * # been appointed New Zealand Opera’s Angus Simmons Head of Music, returning to New Zealand after working as music staff for a number of major companies including The Royal Opera House, Covent Garden and English National Opera.

* FREEMASONS NEW ZEALAND OPERA ARTIST

# DAME MALVINA MAJOR EMERGING ARTIST MOZART’S DON GIOVANNI2019 17 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 Auckland Live Freemasons Foundation Foundation Auckland Philharmonia Pub Charity Limited The Wallace Foundation Foundation Sir William and Lady Manchester Adrian Burr Creative New Zealand Charitable Trust Haydn Staples & Lynley Stewart Foundation North Trillian Trust

GOLD

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

SILVER

Alexander Harold Watson The Lion Foundation Maurice Paykel Charitable Trust Charitable Trust The Lou and Iris Fisher Deirdre & Tony Anselmi Family Auckland Philharmonia Orchestra Charitable Trust Trust Friends Manukau Westmere Lodge Richard Ebbett Lesley French Estate Charitable Trust

BRONZE

Blue Waters Community Trust Charline Hamilton Baker Anne Hargreaves The Hamana Charitable Trust Roger & Joanna Booth Eric Johnston & Alison Buchanan James Russell Lewis Trust Hon. John Boscawen Coral Mazlin-Hill in memory of the Kelliher Charitable Trust Peter & Fay Cropper late Willi Hill Ministry of Education Richard Frechtling & Carole Robert & Lynne Morton Mt Wellington Foundation McIntosh Anna Nathan North & South Trust John & Eleanor Gibb Dame Judith Potter NZCT Sandra Greenfield APO.CO.NZ 18 THE APO STELLAR FUND – SUPPORTING ARTISTIC EXCELLENCE

Warren & Sandra Cant David & Dian Ross Peter Wilson & Gerda McGechan Dr Sylvia Rosevear Andrew & Jenny Smith Lindsay and Janet Spilman

SUPPORTERS CIRCLE

Jack & Liz Alison Peter & Joan Hanson Ron & Ruth Niven Dianne & Jeremy Aubin Geoffrey H. Haughey Denver & Prue Olde Jack Astley Rosemary & Brian Hedge Claire Parkinson Anne & Tony Baird Brett Henshaw Heath Quinn Anita Banbury Robert & Hilary Howard Carolyn Reid John Bierre Robert Jenkins Dr Roger Reynolds Janet & David Bridge Paul & Gillie Kennerley Rachel Ronaldson Claire & Peter Bruell John & Janet King Adam Ross Andrew Burgess Alan Kinnear Vicki & Ian Ross Dr Marian Carter Bob Kinnear Rosser Foundation Ann Clarke Peter & Gael Levin Ronald Saunders & Nuala Grove Geoff Creighton Jihong Lu Heather Simpson Erica & Frans De Court David Lovell Janine Smith Raewyn Dalziel John & Sue Maasland Gillian Spencer Wayne Dyer Alastair MacFarlane Lindsay & Janet Spilman Robert & Gillian Eady Fraser & Linda Macfarlane Gael & Earl Thompson Graeme & Di Edwards Stephanie & Dennis Markson Stuart Thompson & Michael Stephen & Virginia Fisher Geraint A. Martin & Sam Cliffe Dennis Helen Gaeta Joan & David Maxwell Gwynne Urquhart Beverly Gentles Beverley McConnell Kees & Katrina van Boheemen Pamela Gould Alison & Ken McKenzie Belinda Vernon John Gow Dame Rosanne Meo Sir James Wallace David & Sally Graham Sally & Alan Merry Jane Williams Robert & Alison Gunn Ross Milne & Phillippa Levy J W Wilson Graham Guthrie Alison Morton Peter Wilson & Gerda McGechan Joan & John Guthrie Robert & Lynne Morton Jane Haines Gaynor & Humphrey Nisbet Wendy & Bruce Hadden Michael Nicholls 8 anonymous donors

Listed are all donors who have given over $500 since 1 January 2018. Donations by individuals of $5 or more attract a tax rebate of 33.33%.

THERE ARE MANY WAYS YOU CAN SUPPORT THE ORCHESTRA. To find out more information, visit us online: apo.co.nz/support-donate Or contact: Susan Wall, Director of Development [email protected] (09) 638 6266 ext 233 Development team:

[email protected] MOZART’S DON GIOVANNI2019 19 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.

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 ($4,000 MINIMUM ANNUAL DONATION)

Deirdre & Tony Anselmi Family Richard & Lois Hadfield Vicki & Ian Ross Trust Haines Family Mark Rowley Auckland Philharmonia Orchestra Audrey Hay Avril & John Ryan Friends Brett Henshaw Gregory & Vlasta Shanahan Leigh & Jennie Auton Stephen & Gail Hofmann Signs Around Town Ltd Alex Baker Michael & Dame Rosie Horton Andrew & Jenny Smith Charline Hamilton Baker Pare Keiha Roger & Joanna Booth Karen Kennedy Janet Smith Adrian Burr Jennifer Knutsen Julian Smith & Craig McAlpine Warren & Sandra Cant Bob Kinnear Sidney Smith Barry & Trish Clapham Murray & Jill Lander Martin Sowter & Alison Pereira Robert & Louise Clark Stephen Lloyd Lindsay & Janet Spilman Sally Clatworthy David Lovell Rua & Clarrie Stevens Charitable John & Margaret Cullen MakeReady Ltd Trust Marshall Day Acoustics Stephen & Laura Dee Brian & Pam Stevenson Paul & Alison Dyson Geraint A. Martin & Sam Cliffe Haydn Staples & Lynley Stewart Richard Ebbett Dame Rosanne Meo Dame Adrienne Stewart Charles & Tana Fishman Dr Tom & Ann Morris Penelope Weber Mark & Amber Gatward Denver & Prue Olde Peter Wilson & Gerda McGechan Barbara Glaser & Richard Ralph & Penny Roberts Panting Dr Sylvia Rosevear Gae Griffiths David & Dian Ross 4 anonymous donors APO.CO.NZ 20 21ST CENTURY CIRCLE The 21st Century Circle recognises donors who have made gifts in their wills to the Auckland Philharmonia Foundation. The 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 Barbara Glaser John & Jessica Pybus Dr Ian Ball Jean Glenister Nyla Rae Carol & Alan Best Pamela Gould Carolyn Reid L & J Bishell Dora Green Claire Reynolds Kevin Bishop Gae Griffiths Julia Reynolds Hon. John Boscawen Lois & Richard Hadfield Dr Sylvia Rosevear Warren & Sandra Cant Geoffrey H Haughey David & Dian Ross Canterdale Trust Graeme & Margaret Hitch Stewart & Pauline Rundle Angela Caughey Robert & Hilary Howard Gordon & Madeline Stern Pamela Chalmers Trevor Hudson Ian Stevenson Kath Cherney Neil Jenkins Anne Stewart Barry Clapham Eric Johnston & Alison Buchanan Garrick Stuckey Tom Darrington Frank Jones Elizabeth Swier C L Davidson Liggins Family Trust Donald Trott Christopher Devereaux David Lovell Belinda Vernon Una Dowding Ken & Pat Meiklejohn Sir James Wallace Robert G Eady Pamela Melding Pauline Wetton Richard Ebbett Darryl Milner Peter Wilson & Gerda McGechan Graeme Edwards Dr Tom & Ann Morris Lynette Youlden Robert & Anne Feigel Denver & Prue Olde Judy Ganley Jackie Pittman There are a further 70 anonymous Roger Giese Dame Judith Potter 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, Ed Dowding, Hilda Godley, Noni Kenny and Margaret Kealey.

For more information about leaving a gift in your will to the Auckland Philharmonia Foundation, contact Adele Diviney:

[email protected] (09) 638 5628 MOZART’S DON GIOVANNI2019 21 AUCKLAND PHILHARMONIA FOUNDATION Chair Trustees Belinda Vernon Robert Clark Robert Clark Simon Williams Richard Ebbett Peter Wilson, ONZM Mark Gatward Haydn Staples

BOARD AND SUPPORT ORGANISTIONS Patrons Auckland Philharmonia Auckland Philharmonia Dame Kiri Te Kanawa, DBE, ONZ Orchestra Board Orchestra Society Dame Catherine Tizard, GCMG, Geraint A. Martin (Chairman) Executive Committee GCVO, DBE, ONZ, QSO Leigh Auton Chairperson Huw Dann Sir James Wallace, KNZM, Richard Ebbett Xin (James) Jin ONZM Gordon Hill Martin Lee Dame Rosanne Meo, DNZM, OBE Pare Keiha Tim Sutton Kieran Raftery QC Sue Wedde Vice Patron Oliver Sealy Dame Jenny Gibbs, DNZM Julian Smith

LEADERSHIP TEAM Chief Executive Barbara Glaser Director of Artistic Planning Director of Development Deputy CEO/Director of Ronan Tighe Susan Wall Business Partnerships & Director of Operations Paul Christ Director of APO Connecting Marketing Stuart Angel Director of Business Services Thomas Hamill Heather Wallace APO.CO.NZ 22 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 $100 and new members are always welcome. To join Crescendo, contact Charlotte Crocker: [email protected] (09) 638 6266 ext 234

APO FRIENDS The Auckland Philharmonia Orchestra gratefully acknowledges the invaluable support of volunteers who give substantial assistance behind the scenes and at each performance. President Jackie Wilkinson Secretary Bryce Bartley 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 Bryce Bartley, Membership Secretary: [email protected] MOZART’S DON GIOVANNI2019 23 SPONSORS Auckland Philharmonia Orchestra gratefully acknowledges the significant contributions made by the following corporate sponsors.

PLATINUM

GOLD

SILVER

BRONZE

Adrian Malloch Photography Marshall Day Acoustics St John Artedomus (NZ) Ltd Orongo Bay Homestead 2will Physiotherapy & Pilates Studio Karajoz Coffee Scarecrow – deli, café & florist

For information about business partnerships and corporate events, contact:

APO.CO.NZ [email protected] (09) 638 6266 ext 201 24 Great Classics MAGIC & MOZART

Mendelssohn A Midsummer Night’s 7.30pm, Thursday 7 November Dream: Overture Auckland Town Hall Mozart Piano Concerto No.21 BOOK Brahms Symphony No.1 ticketmaster.co.nz Conductor Giordano Bellincampi 0800 111 999 Piano Alexander Gavrylyuk SERVICE FEES APPLY. PO Box 7083 Wellesley St Auckland 1141 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] apo.co.nz aporchestra @aporchestra aporchestra