SEASON ‘16 Orchestra Wellington, PO Box 11-977 Manners Street, Wellington 6142 Level 8, Alcatel-Lucent House (13-27 Manners St), Wellington

LAST WORDS!

#LASTWORDS2016 Orchestra Wellington is well-established Wellington is well-known as the creative as a vital component of the Capital’s cultural capital of New Zealand, home to many life, and the region’s music lovers have prolific and active artistic companies that much to look forward to in the 2016 season. breathe vitality and charisma. Filled with evocative works that will stimulate Orchestra Wellington offers many amazing the imagination of listeners of all ages, and imaginative musical experiences. Since audiences will appreciate the Subscription 1950 they have amassed a vibrant body Series, which explores legendary works of work. 2016 has a line-up that promises of the orchestral repertoire and features memorable performances from many a number of acclaimed New Zealand and genres. Orchestra Wellington remains international soloists. committed to making music accessible, Known for its versatility, Orchestra with tickets at a range of price points for Wellington will also continue to collaborate those who book early. with other national and regional cultural Wellington has world-class musicians, organisations in 2016, working alongside composers and performers who call this city the Royal New Zealand Ballet and New home, and we’re a popular destination with Zealand Opera, as well as Wellington’s many who travel from around the world to own Orpheus Choir. experience our unique culture. Orchestra I commend Orchestra Wellington for Wellington’s inspiring partnership with its commitment to fostering the next Arohanui Strings has also enabled new generation of musicians and music-lovers musical talent to thrive here. through its wide array of educational and The capital’s dramatic natural landscape outreach projects, notably the orchestra’s and thriving metropolitan culture are home relationship with Arohanui Strings – to both well-established and up and coming Sistema Hutt Valley and its expanded musical talent. Wellington City Council Music-to-Schools programme. These is delighted to have increased funding to initiatives enable many young people in Orchestra Wellington in our 10-year plan. the Wellington region to engage with the arts and be inspired by the transformative I’d like to thank the many dedicated power of music. performers and audience members whose creative passion continues to make arts I wish Marc Taddei and the members of in Wellington thrive. I look forward to Orchestra Wellington all the very best Orchestra Wellington’s 2016 season. for an exciting year of vibrant and diverse music-making in 2016. Ngā mihi mahana. Hon. Maggie BarryONZM Celia Wade-Brown Minister for Arts, Culture and Heritage Mayor of Wellington LAST WORDS! Welcome to Orchestra Wellington’s musical canon. Together, we will explore 2016 season! music of the greatest profundity, music There is something extraordinary about the of the most ineffable lightness, and some final masterpieces of great composers. of the most joyous music ever composed. This season truly focuses on what makes While all of the masterpieces that we are orchestral music so inspiring and thrilling. performing were written at different life stages, and not all were written with the It is an honour and a great responsibility to full knowledge of the end, the common be Wellington’s orchestra. We strive to offer link with all of these works is that each our lively and diverse community a musical composer valued knowledge and skill; all journey that is inclusive for all. In addition saw themselves as building upon, rather to our Subscription Series, we also offer than bucking, tradition. It is because of this great concerts for the family and children, commitment to a lifetime’s dedication to local free outdoor events and, of course, craft and inspiration that the legend around we maintain a pivotal role in accompanying these works grew. for the Royal New Zealand Ballet, New Zealand Opera, Orpheus Choir and In general, we are fascinated by the last several visiting artists. thing that anyone does, and this fascination is given greater intensity when the Your orchestra has a comprehensive person is a great artist. Ever since Mahler Music-to-Schools programme that focuses suggested the romantic notion of the curse on communities and schools with little of the 9th symphony – the myth that after or no exposure to live music. We are Beethoven, no one could write past this thrilled beyond measure to continue our number – our culture has been fascinated partnership with Arohanui Strings – Sistema by the idea of composers creating profound Hutt Valley, which is part of a visionary works of art that transcend their time and global movement transforming the lives of speak directly to us. children through music. With these final masterpieces, there is huge But in fact, what the arts does and what poignancy in contemplating the process of we strive to do every time we perform is development. It speaks to the fundamental to transform lives and contribute to the nature of creativity and how this unfolds vibrancy of our great city. over a lifetime. Please join us in this moving exploration of some of the greatest monuments in the Marc Taddei Adán E. Tijerina Music Director General Manager LAST WORDS Fittingly, we perform Beethoven’s Ninth This season we delight in some of the Symphony, which stands in the centre most profound music ever composed. of these works. This is Beethoven’s final These monumental works are made all symphonic utterance and serves as a promethean force and stunning example to the more profound by being among their every subsequent composer of symphonies. composers’ last creations. They include It is impossible to overstate this work’s pivotal symphonies and some of their last impact. The Ninth is a monumental great works for voice and piano. Performing symphony whose gravitational pull affects them, we will deepen our relationship with all others. We’ve paired it in a concert by valued colleagues such as the Orpheus Choir, Beethoven’s old mentor Haydn. An early pianist Michael Houstoun, and stunning work, but we hear Haydn toying with the vocal soloists we’ve previously worked with. elaboration of themes he would master Some of these masterpieces are deathbed later – and which Beethoven would develop utterances, forced out by superhuman in unimaginable directions. It’s Haydn’s effort in a race against time. We are left in Last Word also, because the manuscript awe of the generosity of these composers was lost until the 1960s. who wanted to give the deepest soundings The great composers who came after of their souls to the future for safekeeping. Beethoven had to face up to the challenge In the case of Bartok, his great friend of his incredible symphonic achievements Tibor Serly described visiting him the night and find something new to say, and a new before he was moved to the hospital where way to say it. he died. Bartok was in bed, surrounded by Maybe for Schubert the pressure was less medicines, trying to finish his Third Piano intense – for most of his life, symphonies Concerto: a bright and generous surprise were something he wrote for the pleasure gift for his concert pianist wife, Ditta. of sharing them in the orchestras he Mozart’s last works – the Requiem, the played in with his friends. They were not Clarinet Concerto, and the motet Ave performed publicly in his lifetime. But in Verum – look forward to Beethoven in 1824 he wrote of his eager anticipation their expressive humanity. By his final year, to hear Beethoven’s Ninth Symphony Mozart had long since mastered technical performed, and confided his plans to perfection. The three works we play are attempt a much grander symphony of gifts to his friends and colleagues, and his own. The C major “Great” symphony that strange, premonitory commission, a was Schubert’s response. Mahler took Requiem whose composition cut him off in Beethoven’s lead in using the voice in some the full flow of his creative height. of his symphonies. He also followed his

11 view of the symphony as the record of a recognition; Metamorphosen, written in the soul’s journey from one state to another, closing stages of World War II, is Strauss’s or a way of seeking meaning. anguished memorial to a lost culture: He only completed the first movement of it quotes from Beethoven and Wagner. his Tenth Symphony, and it is an intense The closing scene from his final opera, and visionary work – written under the full Capriccio, is arguably the most sumptuous realisation of his impending death and his in his entire oeuvre: a distillation of Strauss’ wife’s affair with Walter Gropius. It is an art as an operatic composer. impassioned adagio to his wife that wavers Tchaikovsky’s symphonies we have already on the edge of tonality. Mahler’s inner covered throughout 2015; it is time for us turmoil is laid bare to the listener and in his to present Tchaikovsky’s last masterpiece manuscript, he wrote entreaties to his wife, for the ballet, the Nutcracker. Tchaikovsky’s including, “für dich leben! für dich sterben!” distinctive musical gift includes a kind “To live for you! To die for you!” A more of physicality that impels and urges personal account of inner turmoil made movement. Nutcracker also shows him at manifest in music has not been written the peak of his powers as an orchestrator. and is one of the most sublime moments His work is paired with another great in early modernism. orchestrator and lover of the stage, Berlioz. We also perform one of the most moving The Orchestra finishes the year with a works of high modernism by one of departure from the theme. Holst’s suite Mahler’s many disciples – the Violin “The Planets” was something of a one-off Concerto of Alban Berg. Dedicated for him, a grand canvas for the imagination. “to the memory of an angel”, this most It is paired with the Orchestra’s new deeply felt of all violin concertos was commissions for this year in a celebration inspired by the death of Manon, the 18 of music as a vital, living artform. year old daughter of Alma Mahler and Walter Gropius. Although intended as a requiem for her, it became Berg’s own requiem, as he died of complications from a bee sting, shortly after its composition. We play three final works by Strauss, written in the most horrific of circumstances by a great composer near the end of his life. His Festmusik celebrates a city that was soon to be bombed beyond

12 13 ODES TO JOY

CAPRICCIO

MOZART 1791 LAST TO THE WORDS! MEMORY OF AN ANGEL

NUTCRACKER

PLANETS 14 15 I’M SO HAPPY I COULD DIE

16 SUBS 1 ODES TO JOY Ludwig van BEETHOVEN (1770–1827) How else can we begin our exploration Symphony No. 9, Op. 125 of “final” works other than with the composed 1822–1824 symphony that cast its shadow over an entire century? Jenny Wollerman Soprano Beethoven’s Ninth Symphony is without Elisabeth Harris Alto question one of the monuments of Henry Choo Tenor the Western canon and the history of music is impossible to consider without Warwick Fyfe Bass acknowledging its genius, sublimity Orpheus Choir of Wellington and influence. Jenny Wollerman is the thinking musician’s Joseph HAYDN (1732–1809) soprano – an artist of exquisite style and taste. We are delighted to introduce Cello Concerto in C major, Hob. VIIb-1 to our audiences young and vibrant composed 1761–1765 mezzo soprano, Elisabeth Harris. We first Rustem Khamidullin Cello worked with Henry Choo during our 2014 Grand Prize Winner Gisborne International performance of Carmina Burana. Who Music Competition 2014 could forget his performance there of the roasting swan? This was as fine as we have heard anywhere. We are particularly excited to work with Warwick Fyfe, one of Australia’s finest baritones and the winner of a prestigious Helpmann Award. CONCERT PARTNER We pair this with a work by Beethoven’s teacher and the father of the symphony, Marc Taddei Conductor featuring the 2014 winner of New Zealand’s longest running music competition. Saturday 11 June, 7:30pm Michael Fowler Centre, Wellington

19 IT’S BEEN QUITE THE LIFE SUBS 2 CAPRICCIO Richard STRAUSS (1864–1949) Richard Strauss is an extraordinary (arr. Maunder): Festmusik der Stadt Wien candidate for inclusion in this series. for brass and timpani, werke o.Op. 133 His career began as a child prodigy and composed 1943 continued with unabated inspiration until his death at the age of 85. It’s a revelatory Metamorphosen Study for 23 solo strings, example of the power of human creation. o.Op. 142 We hear his last major orchestral work composed 1944–1945 in the Metamorphosen, his final opera in Capriccio and his final fanfare in his Capriccio Op. 85 exhilarating Festmusik. Prelude and Final Scene For us, Capriccio is about the enchantment composed 1941 that great music provides. Born during the Anna Leese Soprano most unimaginable of human catastrophes, perhaps this simple idea is enough. This concert is one of huge depth and pleasure and we can’t wait to hear the magnificent Anna Leese sing the glorious closing scene to his final opera.

ARTIST PARTNER

Marc Taddei Conductor

Saturday 16 July, 7:30pm Michael Fowler Centre, Wellington

23 GOODBYE AND GOODNIGHT SUBS 3 MOZART 1791 Wolfgang Amadeus MOZART (1756–1791) Mozart fills the second of our two Ave Verum Corpus K. 618 programmes dedicated to a single composed 1791 composer. His final year saw the creation of an array of masterpieces unparalleled Orpheus Choir of Wellington in the history of music.

Clarinet Concerto in A, K. 622 On this night, we will hear his extraordinary composed 1791 final concerto, the exquisite Ave Verum Corpus and his legendary Requiem – could Andrew Simon Clarinet this be the most heart wrenching piece of music ever composed? (completed by Levin): Requiem in D minor K. 626 Our soloist is Andrew Simon, a clarinetist composed 1791 that the West Australian has called “Peerless and beyond reproach”. Emma Fraser Soprano Andy and Marc go WAY back – they’ve Elisabeth Harris Alto known each other since they were Henry Choo Tenor teenagers and his artistry has always been inspirational to the Music Director. James Clayton Baritone The Orpheus Choir joins us again, as do Orpheus Choir of Wellington Emma Fraser, Henry Choo and Elisabeth Harris. And to complete our vocal quartet, we welcome back James Clayton. We are particularly pleased to have James, Henry and Emma together again, as they performed so magnificently together in Marc Taddei Conductor Carmina Burana.

Saturday 20 August, 7:30pm Michael Fowler Centre, Wellington

27 LIVE FAST DIE YOUNG SUBS 4 *for Manon Gropius, daughter of Alma Mahler and Walter Gropius, TO THE dying of polio in 1935 at the age of 18. MEMORY OF AN ANGEL Gustav MAHLER (1860–1911) Our Fourth Subscription Series concert “Adagio” from Symphony No. 10 tells a real story. We hear three final works composed 1910–1911 by composers closely associated with Vienna – Mahler, Schubert and Berg. Each demonstrating a century of visionary Alban BERG (1885–1935) music from this great culture. The Adagio Violin Concerto “In Memory of an Angel”* from Mahler’s unfinished last symphony composed 1935 is a profound work that suggests areas that Mahler may have explored had he Wilma Smith Violin lived a normal life span. In a way, the Berg Violin Concerto – undoubtedly one Franz SCHUBERT (1797–1828) of the most popular of the 20th century – takes up where the Mahler leaves off. Symphony No. 9 in C Major, We are pleased that we have Wilma “The Great” D. 944 Smith – a student of Louis Krasner, who composed 1828 commissioned the Berg – to play this deepest of all violin concertos. It seemed fitting to end with Schubert’s great C Major Symphony. To use the word ARTIST PARTNER monumental is not too strong a descriptor for this symphony. It is a high water for Marc Taddei Conductor early Romanticism and was to prove hugely influential to later composers.

Saturday 10 September, 7:30pm Michael Fowler Centre, Wellington

31 FINAL CURTAIN SUBS 5 NUTCRACKER Hector BERLIOZ (1803–1869) Pretty much all one needs to know about Overture to Beatrice and Benedict the art of orchestration can be found in composed 1860 this concert. One of them literally wrote the book on it! In addition to the Bartok’s last musical Béla BARTÓK (1881–1945) love letter to his wife and Tchaikovsky’s Piano Concerto No. 3 in E Major enchanting final ballet, we pay tribute composed 1945 to Shakespeare’s 400th anniversary commemorations with the flamboyant Michael Houstoun Piano Overture to Beatrice and Benedict by Hector Berlioz. Pyotr Ilyich TCHAIKOVSKY (1840–1893) Berlioz was hugely inspired by the works of Nutcracker ballet, Act II Shakespeare and his two act opera, based composed 1892 upon “Much Ado about Nothing” is the first notable opera based on the work of the great playwright. Tchaikovsky’s last ballet is impossibly famous – but deservedly so. From the most diaphanous textures to the grandest climaxes and the first appearance of the celeste, the Nutcracker is a marvel. Michael Houstoun and Orchestra Wellington have enjoyed a long and fruitful artistic relationship and the intelligence Marc Taddei Conductor and clarity that he brings to his music making seemed to us to be a perfect fit for the Bartok. Saturday 15 October, 7:30pm Michael Fowler Centre, Wellington

35 BACK TO THE STARS SUBS 6 PLANETS Claire COWAN (1983–) While the theme of our season has Concerto for Violin focused on final works, we think what composed 2015–2016 we really have explored has been the idea of creativity throughout life and Amalia Hall Violin its various stages. We are exhilarated that creativity can David LONG (1967–) remain a profound force and focus of inspiration throughout life. New Commissioned Work composed 2015–2016 We leave our theme behind for our final programme and in its place we offer a David Long Guitar multi-media extravaganza with one of David Downes Visuals the grandest and most popular works Jim Murphy Mechatronics of the entire orchestra repertoire – Gustav Holst’s The Planets! We partner this huge work with projected images Gustav HOLST (1874–1934) from the Space Place and welcome back (for the third time in the season) The Planets, Op 32 the (very) hard working Orpheus Choir composed 1914–1916 of Wellington. Orpheus Choir of Wellington The concert begins with two vital premieres by three (!) of our Composers -in-Residence. First, we are thrilled to present Claire Cowan’s Violin Concerto CONCERT PARTNER with noted New Zealand violin virtuoso, Amalia Hall as soloist. Marc Taddei Conductor Following this, David Long is joined by a video presentation by David Downes in Saturday 3 December, 7:30pm a work that straddles both classical art Michael Fowler Centre, Wellington music and popular idioms.

39 SEASON ‘16 COMMUNITY

40 41 BABY POPS The Musical Zoo

Thomas Goss Presenter Join Education Composer-in-Residence Thomas Goss for a trip to the musical zoo, where trumpets romp with tigers and flutes twitter with the birds. In this orchestral safari especially designed for young listeners aged 2 to 6, animals run rampant through some favourite classical and pop selections. Come roar along to “The Procession of the Lion” from Saint-Saëns’ Carnival of the Animals, and stomp along with Henry Mancini’s “Baby Elephant Walk.” Sing-alongs abound with children’s classics getting the orchestral treatment in songs like “Ten Little Wallabies” and “No More Monkeys Jumping on the Bed.” Then curl up in your seat for story-time, with Goss’ new retelling of the classic African animal folktale, “The Name of the Tree”. Dates and venue will be released early 2016. Tickets: ticketek.co.nz

42 43 Orchestra Wellington continues its outreach to schools in the Wellington region with its small ensemble programmes designed by Education Composer-in-Residence Thomas Goss. 2016 will see a new programme, The Science of Sound, in addition to last year’s popular and humorous History of Music, as told by the brass and percussion.

BEAT IT BLAST IT

44 45 PERFORMANCE PARTNERS NEW ZEALAND NELSON FESTIVAL John Luther ADAMS OPERA IN Sila: The Breath of the World Wander around to take in all the different THE PARK perspectives – and don’t complain about Opera in the Park is back with some of New the nearby traffic, people talking or the Zealand’s finest opera singers alongside a noise of cellphones, as they’re all part of stellar line-up of contemporary performers. the “ecological listening” Sila celebrates.

13 February 05 & 06 March Trafalgar Park, Nelson Civic Square, Wellington CUBADUPA THE ORPHEUS CubaDupa is Wellington’s vibrant street festival revering the epic creative spirit of CHOIR Cuba Street and the Wellington community. Ralph Vaughan WILLIAMS Over the weekend of 19 and 20 March A Sea Symphony 2016, Wellington’s most iconic street will Felix MENDELLSOHN be transformed into a magical interactive Hebrides Overture playground of delight, sound, and taste. Benjamin BRITTEN Four Sea Interludes 19 & 20 March Inspired by the poetry of Walt Whitman, Cuba Quarter, Wellington this choral symphony depicts the majesty and mystery of the sea using it as a metaphor for a voyage into eternity.

07 May Michael Fowler Centre, Wellington 46 47 NEW ZEALAND ROYAL OPERA NEW ZEALAND Wolfgang Amadeus MOZART The Magic Flute BALLET In Mozart’s The Magic Flute, comedy and Adolphe ADAM philosophy unite to produce a work that Giselle extols the virtues of courage, wisdom, and Romantic, mystical and lyrical, Giselle is the enduring power of true love. a timeless production of one of classical ballet’s great stories.

26 May–04 June St James Theatre, Wellington 11–14 August St James Theatre, Wellington

Stephen SONDHEIM Sweeney Todd The stuff of urban legend, Sweeney Todd is without doubt one of the most powerful, dramatic and theatrical horror tales ever set to music.

30 September–05 October St James Theatre, Wellington

48 49 In 2015, Arohanui Strings played for the AROHANUI Mexican Embassy at Old St Paul’s and at the Polynesian Festival at Walter Nash STRINGS – Stadium. They also had the opportunity to perform alongside Orchestra Wellington SISTEMA HUTT at one of their concerts. Arohanui founder Alison Eldredge says VALLEY it is very exciting for the children to Orchestra Wellington continues its play on the stage of the MFC with their partnership with Arohanui Strings, a Orchestra Wellington friends. “The whole charitable trust offering free music day is truly a highlight for us, from the education to children in the Taita, Pomare bus ride into town to the sound of the last and Stokes Valley communities. Their work applause,” Alison says. is based on the Venezuelan El Sistema “The students are working hard, and model, which conceives of music education we feel so honoured to enjoy this as a means of achieving excellence as unique relationship with a beloved local well as offering cultural opportunities to institution, Orchestra Wellington. You are marginalised and vulnerable children. helping us to reach for the stars!” Orchestra Wellington is able to offer resources and share knowledge with In 2016, Arohanui will be fundraising Arohanui Strings through their holiday for more tuition scholarships, more workshops and in-school free tuition. instruments as well as for travel to the first national Sistema concert in Auckland In the schools programmes, a team of two on July 13, 2016. teachers works with groups of 20 class 3 children, twice a week for half an hour each time. For the holiday programmes, around 60 children participate, with about a third of them meeting a string instrument there for the first time. Free food is delivered daily by Orchestra Wellington staff, thanks to a collaboration with Kaibosh Food Rescue.

51 Arohanui Strings – Sistema Hutt Valley

52 53 SEASON ‘16 PROFILES

54 55 Rustem Khamidullin Cello Jenny Wollerman Soprano Rustem Khamidullin was born in Russia in Jenny Wollerman is one of New Zealand’s 1989. He studied under Vladimir Tonkha best known sopranos. A sought after soloist at the Gnessin Music Academy, and for New Zealand arts organisations, she from 2008, Ivan Monighetti at the Basel has performed throughout Australasia, in University School of Music. Currently, Britain, Ireland and Taiwan. Senior Lecturer he is studying with Conradin Brotbek in Classical Voice at Te Kōkī NZ School of in Stuttgart. In 2014 alone, he won the Music, Jenny completed her studies at the supreme award at the Gisborne International Curtis Institute of Music in Philadelphia. Music Competition as well as the Russian Recent performances include ‘Fragments National Music Competition in Moscow and from Wozzeck’ with APO, Ross Harris’s the International Beethoven Festival and ‘The Floating Bride’ for NZSO, Jenny Competition in the Czech Republic. McLeod’s opera ‘Hohepa’, Anthony Ritchie’s Symphony No. 4 and ‘Between Darkness and Light’: a song recital CD with Michael Houstoun.

“…a captivating recital of spellbinding beauty and depth…this was an exquisite theatrical recital, beautifully and expressively rendered with both power and restraint…” —Nigel Zega, Otago Daily Times

56 57 Elisabeth Harris Alto Henry Choo Tenor Elisabeth Harris studied under Margaret Henry Choo is known as one of Australia’s Medlyn to complete a Master of Musical finest lyric coloratura tenors. He is an Arts in Classical Voice with Distinction. alumnus of both the Young Artist Program Elisabeth placed second in the prestigious of Opera Queensland and the Moffatt Dame Malvina Major Foundation Aria in Oxenbould Young Artist Development Wellington. She has performed as Medora Program of Opera Australia. Henry’s in Il Corsaro, Orlofsky in Die Fledermaus, concert profile has been impressive and and has sung the alto solo for Handel’s varied, having performed in concert Messiah on a number of occasions. She with Susan Graham, the Hong Kong is a member of touring opera group Philharmonic Orchestra, the Melbourne, Operatunity, and an experienced chorus Sydney, Queensland and Tasmanian member with NZ, Canterbury and Southern Symphony Orchestras, the Australia Operas. Ensemble, the Australian Army Band, the Three Chinese Tenors and the Three Australian Tenors. Henry appeared “Elisabeth Harris is dramatic both in with Orchestra Wellington in their 2014 appearance and voice; her low notes… performance of Carmina Burana. were full of delicious timbre. Her voice has a lovely quality of unforced clarity.” —Rosemary Collier, Middle C, “Tenor Henry Choo’s voice as Nadir Classical Music Reviews blossomed with colour and honey sweetness as soon as he opened his mouth.” —Peter McCallum, Sydney Morning Herald 2012

58 59 Warwick Fyfe Bass Anna Leese Soprano Warwick was born in Canberra and New Zealand soprano Anna Leese obtained his musical education at the completed a Bachelor of Music degree Canberra School of Music and the Victoria with First Class Honours at the University College of the Arts. He took part in the of Otago. Anna was recipient of an Victoria State Opera and Opera Australia impressive number of Australasian awards Young Artist programs, later becoming a and prizes, and has won the 2004 Royal full time soloist with Opera Australia. Overseas League Vocal competition (and Warwick was a McDonald’s Aria winner was named best overseas competitor in (1998), and has been the recipient of a the same competition) and the 2005 Green Room Award (for his Schaunard in Richard Tauber Prize as well as the Maggie La Bohème). Other awards include the Teyte and Sybill Tutton awards. In 2011, Moniuszko aria prize (Warsaw), a Bayreuth Anna represented New Zealand in the Bursary, and the prestigious Bayreuth Cardiff Singer of the World competition. Scholarship (2007).

“The loveliness of her presence and of her “…the most astonishing discovery here was art is indeed beyond compare. She shines the Alberich of Warwick Fyfe... his Alberich like a flawless jewel, polished and ready to was that of a master: the most sympathetic, be placed in whatever crown the fates have anguished, and deeply moving I can recall. prepared for her” And the voice is strong and flexible, with —The Tribune perfect intonation” —James L. Paulk, Classical Voice North America

60 61 Andrew Simon Clarinet Emma Fraser Soprano New-York born Principal Clarinet of the Emma was a 2011 Young Artist Scholar with Hong Kong Philharmonic Orchestra, New Zealand Opera, following study at Andrew Simon is acclaimed for his brilliant the prestigious Australian Opera Studio in musicianship and technique. Simon has Perth and a spell of freelancing in the UK performed as chamber musician, recitalist, which included performances in the role of and lecturer in Italy, Scandinavia, the Czech Susanna in The Marriage of Figaro. Emma’s Republic and throughout the US. He is the operatic repertoire includes title roles first American-born artist ever to perform in Manon and Rodelinda; Galatea in Acis in North Korea (1992). He has given more and Galatea, Susanna in The Marriage of than 60 solo performances with the Hong Figaro, Pamina in Die Zauberflöte, Sandrina Kong Philharmonic Orchestra, including in La Finta Giardiniera; Gilda in Rigoletto, John Corigliano’s Clarinet Concerto, Despina in Così fan tutte and Zerbinetta in which he studied with the Academy Award Ariadne auf Naxos. winning composer; and GMN’s recording She currently lives in Sydney and sings of Baermann’s Adagio conducted by regularly with the Opera Australia David Atherton. Simon has also appeared chorus, joining them for their Opera as concerto soloist with the Singapore on the Harbour production of Puccini’s Symphony, performing Mozart’s Clarinet Madama Butterfly, and their main stage Concerto on the basset clarinet. production of Otello, Madama Butterfly and Turandot. Emma was the soprano soloist “...he is one of the finest players I’ve heard... for Orchestra Wellington’s performance competitive with the best of the best.” of Beethoven’s Missa Solemnis in 2012 and Carmina Burana in 2014. —Jerry Dubins, Fanfare Magazine

62 63 James Clayton Baritone Amalia Hall Violin James Clayton is one the leading singers to Amalia Hall is widely recognised as one of emerge from Western Australia in recent the foremost young violinists to emerge years; he became a Young Artist with West from New Zealand. A graduate of the Australian Opera in 2006 and 2007. James’ Curtis Institute of Music, Amalia has won many roles for West Australian Opera have all of the major awards in New Zealand, included the title role in The Marriage of including the Gisborne International Music Figaro and The Barber of Seville, The King Competition at the age of 16, the National in Aida, Ashby in La Fanciulla del West, Concerto Competition and the National Nourabad in The Pearl Fishers, Schaunard Young Performer of the Year. in La Bohème, Papageno in The Magic She won the top prize at the Jeunesses Flute, Steersman in Tristan und Isolde and International Music Competition Dinu Marullo in Rigoletto. He last appeared in Lipatti, and has received 1st Prize and Wellington as Angelotti in New Zealand “Absolute winner” prize at the Postacchini Opera’s season of Tosca, and previous to International Violin Competition, 2nd Prize that, with Orchestra Wellington in their at the International Violin Competitions 2014 performance of Carmina Burana. “Premio R. Lipizer”, and is a laureate of both the International Tchaikovsky Competition “His voice… a resonating bronze for Young Musicians and the Kloster instrument with excellent phrasing and Schöntal International Violin Competition. articulation… with beautifully judged legato and caressing of the words.” “Amalia Hall is turning heads on the —Sandra Bowdler, Opera Britannia national music scene and beyond.” —William Dart, New Zealand Herald

64 65 Wilma Smith Violin Michael Houstoun Piano Fijian-born violinist Wilma Smith is well- Michael Houstoun was born in , known to New Zealand audiences as a New Zealand in 1952. He became interested founding member of the NZ String Quartet in the piano when he was a small child from 1987 and through her position as and began lessons at the age of 5. Under concertmaster of the NZSO from 1993. the tutelage, first of Sister Mary Eulalie in Before that, she studied in Boston at Timaru, and then of the great Maurice Till in the New England Conservatory with and , Michael moved the legendary Dorothy DeLay and Louis through the examination grades and by the Krasner, playing in masterclasses for many age of 18 had won every major competition others including Joseph Gingold, Yehudi in New Zealand. Menuhin and Sandor Vegh. Wilma became Michael lived away from New Zealand from concertmaster of the Melbourne Symphony 1974 until 1981 and in this time studied with Orchestra in 2003. Her wide experience Rudolf Serkin at the Curtis Institute of Music includes nine years spent with the Boston in Philadelphia (‘74/’75) and with Brigitte Symphony Orchestra and the Tanglewood (‘Gigi’) Wild in London (’78/’79). Festival where she played under conductors such as Simon Rattle, Claudio Abbado, Kurt Michael won the Turnovsky Prize in 1982, Masur, Eugene Ormandy, Daniel Barenboim and in 1999 received an honorary doctorate and Leonard Bernstein. She was founding in literature from Massey University. In first violinist of the Lydian String Quartet, 2007 he was made a laureate of the Arts prizewinners at Evian, Banff and Portsmouth Foundation of New Zealand. International Competitions and winners of He is Patron of the Nelson School of Music, the Naumburg Award for Chamber Music. the New Zealand Music Examinations Board She plays a 1761 Guadagnini violin. and the Kerikeri National Piano Competition.

66 67 Claire Cowan Composer David Long Composer / Guitar Claire Cowan is a composer and David Long composes, performs and performer based in Auckland. She studied produces music. He was a founding composition at Auckland University and, member of the seminal New Zealand band since graduating with Honours in 2006, the Mutton Birds with whom he made 3 has pursued a career in music for concert, albums over 7 years. He has also produced film and theatre. Claire is an experienced many albums for a wide variety of artists orchestrator and symphonic writer, having including Dave Dobbyn’s Available Light worked with many of New Zealand’s leading (2005), two albums for Barry Saunders: Red orchestras. Her music has been performed Morning, (2005) and Zodiac, (2009), Lucid by soloists and ensembles throughout the 3’s Dawn Planes (2007) and Leila Adu’s USA, New Zealand, Europe, Japan and Cherry Pie (2006) to name a few. Australia. Her film music has been heard in David has had a long association with the New Zealand International Film Festival contemporary dance, creating many and many overseas festivals. pieces for pre-eminent New Zealand Her own performance project, ‘The choreographers such as Blackbird Ensemble’ (25 piece orchestra) Shona McCullagh and Raewyn Hill, among has performed to sold out crowds since others. He has also written for the New its inception in 2010, covering rarely Zealand String Quartet and contemporary performed classical and popular music by ensemble Stroma. living composers. David has worked on all of Peter Jackson’s She recently completed the score for a films of the last decade. six-part television mini-series about Everest.

68 69 David Downes Visuals Jim Murphy Mechatronics David Downes is a New Zealand born Jim Murphy is a sound artist with a focus composer/filmmaker/performer who has on the intersection of art and engineering pursued a diverse and individual creative and of the inanimate and the actant. His career. His various music, sonic art, film mechatronic works have been shown in the and animation works have been presented United States, Korea, Australia, and New at numerous music, film, and arts festivals, Zealand. He has collaborated with sound galleries, concert halls and cultural events artist trimpin, and has studied under and around the world. worked with music technologist Ajay Kapur. David’s music, although broad in both Jim received his B.F.A. in music technology style and form, draws its main influence from CalArts in 2010 and completed his from popular culture and is strengthened multidisciplinary Ph.D in Sonic Arts and by several years of classical piano training Engineering from Victoria University and a post graduate degree in music of Wellington in 2014. He is interested composition from Victoria University in teaching the art of kinetic sound Wellington. His work has included private sculpture design and in exploring the use and public commissions, theatre/film of new technologies to create large-scale scores, orchestral pieces, electro-acoustic networked sound art works. pieces, and songwriting. Downes’ music has been commissioned and toured by groups such as The New Zealand Chamber Orchestra, NZTrio, Stroma (NZ), Defying Gravity (Australia), BackBeat (UK) and Strike (NZ).

70 71 Assistant Conductor Education Composer-in-Residence Vincent Hardaker Thomas Goss Vincent Hardaker is a young up-and-coming California-born Thomas Goss is a New Zealand conductor. Engagements professional composer and orchestrator in 2014 included a return concert with with an impressive roster of clients the Wellington Chamber Orchestra, a including Billy Ocean, Mel C, Sharon programme with Kapiti Concert Orchestra Corr and others. His compositions, and work as assistant conductor for orchestrations, and arrangements have Opus Orchestra. been performed by such ensembles as Hardaker is assistant conductor for the Vancouver Symphony Orchestra, Tasmanian Wellington Youth Sinfonietta, Wellington’s Symphony Orchestra and San Francisco premiere youth orchestra for high school Symphony Chamber Ensemble aged students, providing young musicians Goss is a pioneer in the field of orchestral with the opportunity to perform standard education and has created programming orchestral repertoire. for every professional orchestra in New Born in Christchurch, Hardaker began his Zealand. For the past several years, musical life with viola and piano. He studied Orchestra Wellington has presented his viola performance at the New Zealand ongoing series Baby Pops as staple for School of Music under Gillian Ansell young listeners. Goss may be found online and also completed his Honours studies at the helm of the internet community in conducting through the tutelage of Orchestration Online, with a social media Kenneth Young. following of over ten thousand composers, musicians, and music students.

72 73 The Orchestra Wellington Composer-in- Residence scheme is run in partnership with the Creative New Zealand/Jack C. Richards Composer-in-Residence at the New Zealand School of Music

Orchestra Wellington In 1981 he was awarded Mozart Fellowship Composer-in-Residence at University of Otago in Dunedin, and John Elmsly in 1984 he was appointed lecturer in composition at the School of Music, John Elmsly’s early musical experiences University of Auckland where he is included piano training from James Noice currently Associate-Professor and head and encouragement in composition at of composition, director of the Karlheinz secondary school from Laughton Pattrick. Company contemporary music ensemble A graduate in mathematics and music from (which he has conducted in many broadcast Victoria University of Wellington, he studied recitals as well as performing on piano, piano with Barry Margan composition with synthesiser and flute) and director of David Farquhar, and began electronic music the electronic music studios. He was the with Douglas Lilburn. Acting-Dean of Faculty of Music 1997; From 1975 to 1978 he held a post-graduate Assistant-Dean, Faculty of Arts 1999; and scholarship from the Belgian Ministry Acting Head of School of Music, 2000. of Culture. In 1977 he was awarded a “Gestauqua” (for brass quintet and tape) First Prize in Composition by the Royal represented NZ at the 1990 Paris Rostrum, Conservatory of Brussels, where he studied and in 1992 Elmsly won the Philip Neill with Victor Legley, and in 1978 continued Memorial Prize from the University of study in Liège with Henri Pousseur, Philippe Otago. He was President of Composers’ Boesmans and Frederic Rzewski. Also Association of New Zealand from 1996 in Belgium he worked regularly in the to 1999; Committee member from 1995 electronic music studios atIPEM in Gent to present; and elected to the Executive with Lucien Goethals, and several pieces Committee of Asian Composers’ League produced there were broadcast by BRT3. from 1997 to 2002.

74 75 Composer-in-Residence Her works have been performed by a Tabea Squire number of professional and amateur groups, including the SMP ensemble of Tabea Squire (b. 1989) has a BMus, a GradDip Wellington, the Wellington Chamber and Honours in performance from the New Orchestra, the Hawke’s Bay Orchestra, Zealand School of Music, where she studied the NZSO National Youth Orchestra, Duo for five and a half years under Helene Pohl. Giocoso, and informal groups of diverse She has been commissioned to write works instrumentations. for the Manawatu Sinfonia, the Wellington She has been a finalist at the NZSM Chamber Orchestra in collaboration with Composers’ competition five times, winning the Recorders and Early Music Union, and runner-up prizes four times out of the five. the NZSQ in collaboration with the Forbidden She was the NZSO/NYO Young composer- City Chamber Orchestra. in-residence in 2008, and is so far the She has also been informally commissioned youngest to have been the awarded this to write works for ‘Duo Giocoso’ of residency. She has had pieces workshopped Wellington (ROSL competition winners of at the NZSO/Todd Corporation Young 2009), Josh Rogan of Melbourne, harpist Composer Awards four times, and Ingrid Bauer, student violinists, and the four was awarded ‘commended’ and ‘highly harpists at the NZSM in 2012. She has had commended’ in separate years of the works performed in all the major cities of awards. She was Composer-in-Residence at New Zealand, and also at the 2012 Australian Marsden Collegiate in 2015. Harp Festival in Adelaide, in Melbourne, and in London.

76 77 Marc Taddei Music Director US-born and Julliard-educated conductor Marc Taddei is in his ninth year as music director of the Orchestra Wellington. His zest for creating engaging, erudite and innovative programmes and his close audience connection have won them an unsurpassed public following and continuing critical acclaim. Marc conducts every professional orchestra in New Zealand, works with the national ballet and opera companies and film festivals, is routinely re-invited to guest conduct the major Australian orchestras, and returns every year to the United States. He has worked with such diverse artists as Dame Kiri Te Kanawa, Julian Lloyd Webber, Horacio Gutiérrez, Simon O’Neill, Jonathan Lemalu, Sir Howard Morrison, Michael Houstoun, Joshua Redman, Pedro Carneiro, Diana Krall, Bobby Shew, Art Garfunkel and even Kenny Rogers. Marc’s impressive discography includes over twenty recordings on the Sony, BMG, Koch, Columbia, Trust, ASV, Universal, Rattle, Concordance and Kiwi Pacific labels. His release of British viola concertos with Helen Callus and the New Zealand Symphony Orchestra received rave reviews in Gramophone, Classic FM, and Strad magazines, and the CD was listed as recording of the month by Music Web International and Classic FM.

78 79 SEASON ‘16 ORCHESTRA

80 81 FIRST VIOLINS CELLOS COR ANGLAIS TUBA Stephanie RolfeP Brenton VeitchSP Louise CoxP Don BanhamP — Landa van den Berg — Jim Pearce & & Rutger Keijser Christine PearceMNZM CLARINETS TIMPANI/PERCUSSION Chair Donor Chair Donor Moira HurstSP Jeremy FitzsimonsSP SUBP SP Olya Curtis Jane Young — Boyd KlapCNZM QSO — Adán E. Tijerina Emma Brewerton Paul MitchellSUBP & Jacquie Alves & Ping Morgan Slava Fainitski Jane Dalley Chair Donor Chair Donor Helen Weir Kathy Paterson Tim WorkmanSUBP Brent StewartSUBP Rupa Maitra Geoffrey Heath Mary Scott Grant Myhill Vivian Stephens Margaret Guldborg Mark Cookson Hannah Neman Sandra Logan Jocelyn Woodley Dayle Jellyman Emma Colligan Jocelyn Cranefield BASSOONS Manshan Yang Jane Brown Preman TilsonSP HARP Leah Johnston Penny MilesSUBP Ingrid BauerSP Christine Watson DOUBLE BASSES Paul AltomariSP HORNS KEYBOARD SECOND VIOLINS — Board of Wellington Shadley van WykP Michael Pansters Pascale ParenteauSP Regional Orchestra Inc Erica ChallisSUBP Fiona McCabe — Glenda West Chair Donor Ed Allen Rachel Thomson P Chair Donor Toni St Clair Dominic Groom SUBP Konstanze ArtmannP Jessica Reese Dillon Mayhew Elena Anna Miller Vivien Reid SP: Section Principal Oscar Bullock P: Principal Linden Barton FLUTES TRUMPETS SUBP: Sub Principal SP Hye-Won Kim Karen Batten Barrett HockingSP SUBP Ann White Jen Vaughan — Adán F. & Sarah Marten Tim Jenkin Norfilia Tijerina Vanessa Leighs Tjasa Dykes Chair Donor Phillipa Watson Hannah Darroch Christopher ClarkSUBP Chris Woolley VIOLAS PICCOLO Sophia AchesonSP Jen VaughanP TROMBONES — Peter & Sheryl Boshier Peter MaunderSP Chair Donor OBOES Julian KirganSUBP Linda SimmonsP Merran CookeSP Christiaan van der Zee — Julian Arnhold BASS TROMBONE Susan Fullerton-Smith Chair Donor Matt SheltonP Elyse Dalabakis Louise CoxSUBP Vincent Hardaker Faith Austin Deborah Woodley Alison Eldredge Grant Baker

82 83 SEASON ‘16 SPONSORSHIP

84 85 SPONSORSHIP When you are subscribing to the Season, Your Orchestra Wellington presents please consider adding a donation amount concerts for all ages and fulfils a valuable in the space provided role accompanying opera, choir, ballet and Music Director’s Club: musical theatre in the region. We rely on $2,500 individual per year Wellington’s generosity to do what we do. $3,500 couple per year Aside from the usual tangible benefits Join this select community that has the that the Orchestra can provide, nothing great opportunity to build a personal is more valuable than knowing that relationship with our highly acclaimed and your contribution goes directly toward inspiring Music Director, Marc Taddei, and supporting the activity of a longstanding get to know what animates and motivates charitable organisation. such a creative force. Collective Generosity - You are invited to attend events, concert We are grateful for the on-going support functions and to meet the conductor, of our Funders, Sponsors, Partners and soloist and orchestra players. Donors. Support from generous individuals - You are invited to our annual Music is increasingly important for us so that we Directors Club event. are able to provide high quality orchestral experiences across our region and we Chair Donor: $1,800 per year would love for you to join our community Choose an instrument and become the of Donors. For this purpose, we have private Donor of a position in a section redefined our fundraising programme (subject to availability). to highlight the significance that each - You are invited to attend concert and every contribution makes to support functions and to meet the conductor, our continued role in the cultural life of soloist and orchestra players. Wellington communities. - You are invited to a special dress How you can help rehearsal and get the opportunity to Every gift makes a difference. meet with the player in the position that you support. Join our community of Donors. In return, we promise to be prudent with the funds Donor and ensure that they go to good use as we broaden our reach. Every Donor is You choose what you would like to acknowledged at every opportunity. contribute. - You are invited to attend concert functions and to meet the conductor, soloist and orchestra players. 86 87 Leaving a legacy Accessibility Programming If you wish to give a gift to Orchestra Orchestra Wellington is working with Arts Wellington during your lifetime or as a Access Aotearoa to ensure our events bequest in your will, please contact Nikau are accessible and inclusive. Your support Foundation. They are set up to manage could help us increase access to the arts for endowment funds on behalf of Donors to disabled people in Wellington. Orchestra Wellington. An endowment fund The Arts for All programme encourages is invested capital where only the income is arts organisations, festivals, museums, distributed so funds can be given out every venues and producers to improve their year, forever. If the income is designated access to disabled audiences, and since the for Orchestra Wellington, Donors will know programme was established in 2011, Arts that they are contributing to the Orchestra Access Aotearoa has set up networks in in perpetuity. Wellington, Otago, Taranaki, Auckland For information contact: and Christchurch. Adrienne Bushell, (04) 472 2470, Orchestra Wellington is working to offer [email protected] audio description for its performances and concerts in welcoming and relaxed settings for those with disabilities, as well as undertake other projects and partnerships aimed at improving accessibility to the arts. Help us ensure all people can participate in the arts. Every dollar you donate will benefit artists, people and communities throughout Wellington.

88 89 SEASON ‘16 SUBSCRIPTIONS

90 91 2016 SUBSCRIPTIONS 1. Select your concert package Save: Take advantage of our Subscriber Subscription(s) Price Qty# Total price when you book 2 or more Wellington 6 Concerts x $29 ea. $174 concerts within the subscription series (Concerts 1–6). 5 Concerts x $36 ea. $180 The more concerts you book, the more 4 Concerts x $42 ea. $168 you will save! 3 Concerts x $48 ea. $144 Seats: All Subscribers are given access 2 Concerts x $54 ea. $108 to best available seating, prior to going on sale to the public. Donation Accessibility Programming Donation Questions: Should your booking require special needs call Orchestra Wellington on Tot a l 04 801 7810 (10am–4pm, Monday–Friday). Note - Single ticket after 31 Mar 2016: Adult $60, Gold Card $50 Online Bookings: This booking process can also be completed on our website 2. If booking more than one subscription, www.orchestrawellington.co.nz indicate the number of seats per concert ODES TO JOY 11 June Subscription bookings close on 31 March 2016 4pm CAPRICCIO 16 July MOZART 1791 20 Aug TO THE MEMORY OF AN ANGEL 10 Sept NUTCRACKER 15 Oct PLANETS 3 Dec

3. Fill in your personal and payment details overleaf, detach and post complete form to Mail Freepost 652 (no stamp) Orchestra Wellington, PO Box 11-977 All prices are GST inclusive. Details are correct at the time of printing. Dates, times and repertoire are subject to change at short notice, and Manners Street, Wellington 6142 Orchestra Wellington will in no event be held liable for any loss arising out of such change(s). Credit Cards Scan your booking and email to [email protected] 92 SUBSCRIBER AND PAYMENT DETAILS PUBLIC PRICES Title (mr mrs ms) On Sale 1 April 2016 All main bill Subscription Series concerts Name(s) at Michael Fowler Centre, Wellington. Adult $60 Concession (Gold Card Holder) $50 Address Child (still at school) $10 Student (with ID) $12

Under 35 (with ID) $25 Community Service Card $12

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Email me Orchestra Wellington information ADMINISTRATION Adán E. Tijerina General Manager Kurt Gibson Operations Manager Kerry-Anne GilberdMNZM Sponsorship Manager Margaret Myers Event Manager Vincent Hardaker Music Librarian Marek Peszynski Digital Coordinator Steve Isaac NZ Van Lines Ltd Instrument Transport

BOARD Francis CookeQC Chair Caroline Heath Murray Newman Rutger Keijser Stephanie Rolfe Ozer Karagedikli Ian McKinnonCNZM QSO JP

LIFE MEMBERS Brian Budd Graham Hanify Elsa Jenson Roger Lloyd Diana Marsh Christine PearceMNZM

Photography: Bradley Garner Illustration: Ellie May Logan Design: Spencer Levine Music Director’s Club Major Funders Francis CookeQC & Diana Marsh, Grant Corleison, Anonymous Chair Sponsors And Donors Julian Arnhold, Board of Wellington Regional Orchestra Foundation Inc., Peter & Sheryl Boshier, Sponsors and Partners Boyd H KlapCNZM QSO & Jacquie Alves, NZ Community Trust, Christine PearceMNZM & Jim Pearce, Adán E. Tijerina & Ping Morgan, Adán F. & Norfilia Tijerina, Landa van den Berg & Rutger Keijser, Glenda West Donors Anonymous, Anonymous, Graham Atkinson, Leslie Austin, Paul & Sheryl Baines, Patricia Bollard, Virginia Breen, Brian & Lynette Burrell, Bruce & Margaret Carson, Mr & Mrs Philip Cooke, Michael & Marie Crooke, Alfons & Susie Des Tombe, Diana Duff-Staniland, Laurie Greig, Gary & Helena Hawke, Paul Herrick, Russell & Carol Hurst, Richard & Christine Irving, David Jenkinson, Benefactors & Special Funding Agencies Rosemary Jones & Nancy Fithian, Athol & Ngaire Mann, David Marrison, Malcolm & Claire McDonald, Ian & Jenny McKinnon, Ian & Sue Pearson, Karen Roper, Judy Salmond, Bruce Scott, Jill Waddington Malcolm & Virginia Abernethy, Robin Averill, AJ & AL Bamford, Maurice & Mary Brown, Jenny Cameron, Margaret Child, Graham Cook & Heather Rae, Linda Dawkins, Joy Dick, Geoff Eades & Marion Cowden, Philip Eastwood, Esmae Erb, Garry & Isobel Evans, J Fellows & B Street, Ian Fraser & Suzanne Snively, Anne Hall, Dianne Hill, Les Holborow & Elizabeth McLeay, Katherine Jenkins, Bernice Kelly, Christine Klingenberg, David Lewis, Peter Lorimer, Barbara Mabbett, Barry McGuinness, Joy Mebus, John Mendzela, Alistair & Lorna Nicolson, Hilary Patton, Stephen Reid, Douglas & Pam Robertson, Kim Saffron, James & Christine Seymour, Pauline Swann, Fay Swann, Karen Sykes, John & Heidi Thomson, Neil Vaney, Graeme Webb, G Wilby, Paul Williams, James Young

Life Members FOR ALL THINGS ORCHESTRA Brian Budd, Graham Hanify, Elsa Jenson, ORCHESTRAWELLINGTON.CO.NZ Roger Lloyd, Diana Marsh, Christine PearceMNZM .CO.NZ /orchestrawellington @orchestraWLG #LASTWORDS2016