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Home , Anna Leese, Catherine Tizard, Governess, Heather Begg, Joan Hammond, John Shaw (baritone)

THE THE TURN TURN OF THE OF THE SCREW SCREW

The Turn of the Screw is a 20th-century The House English chamber opera composed by October 3 & 5 at 7.30pm with a libretto by Myfanwy Piper. The libretto is based on the ASB Waterfront Theatre October 18 & 23 at 7.30pm Composed by Benjamin Britten novella by Henry October 20 at 2.30pm Libretto byMyfanwy Piper James. The opera was commissioned by the Venice Biennale and given its world premiere on 14 September 1954, at the

Teatro La Fenice, Venice. Please note: Information is correct at time of printing. Opera 2019 The performance lasts approximately reserves the right to make alterations to the information as required due two hours and fifteen minutes including to unavoidable circumstances. Use of cameras, mobile phones and a twenty minute interval. Sung in English. recording devices is strictly prohibited. Latecomers will not be admitted until a A production. suitable break in the performance. WE ARE PROUD TO SUPPORT THE FREEMASONS NEW ZEALAND OPERA CHORUS

www.freemasonsfoundation.org.nz THE TURN OF THE SCREW

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Welcome to New Zealand Opera’s of human dignity, we can all draw production of Benjamin Britten’s together to achieve our ambition for The Turn of the Screw, which marks the future. a turning point in the company’s direction, being the first production The future is in the work we do to be directed by Thomas de Mallet together, through collaborative Burgess. endeavours, ensuring we develop and offer opera to a wider, diverse While ghost tales were made popular audience. in eighteenth century England, created as extensions of everyday Come celebrate opera through this reality, today New Zealand Opera innovative interpretation of a ghost must consider the reality of our own tale, made relevant for the time and art form within the unique setting of place in which we live. Aotearoa New Zealand.

At New Zealand Opera, Mana toi, we Ngā manaakitanga value creativity and honour the artists With best wishes, of our many diverse communities. We want to celebrate the difference opera Annabel Holland makes to our lives. New Zealand Opera Chair

We are pleased to share an all New Zealand cast with you for this season of The Turn of the Screw. Through the artists’ and creatives’ pursuit of excellence and in their expression

These performances of The Turn of the Screw by Benjamin Britten with libretto by Myfanwy Piper, after a story by Henry James are given by permission of Hal Leonard Pty Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd of . THE TURN OF THE SCREW

Director’s notes, Thomas de Mallet Burgess We can approach the work as a ghost ceremony of innocence is drowned" Her recent past has been crammed story or we can read it as an intricate referencing a practice of purity, a with the most bewildering push and portrait of an inexperienced young rite of passage, and something that pull between girlhood and adulthood, woman who steps into a dysfunctional represents a structure and order. This between reality, expectation and world of overwhelming responsibility. is now disintegrating before our eyes. fantasy. She has had to leave home It is almost impossible to pin this work And the trauma is embodied in all and seek work far away. She has been down. Are the ghosts real or are the the characters, even Mrs Grose who moved by a meeting with the sort of events that unfold the product of an knows about the past and carries it man she has only dreamed of or read obsessive heroine? Ghosts are often tightly wound within her. about in novels. She must do a great catalysts in Henry James’s stories, favour for this handsome man, which appearing at transitional times. The demise of the children is key to makes her feel she has worth. Their presence excavates the past the theme of corruption of innocence. Anxiety is at the heart of this story. And our experience of it. If we feel and its hidden secrets, reveals and Their lives are already broken, Her mania is for locating meaning illumines. Ghosts show us things we blighted by bereavement, loss and in whatever she sees. And she a worry, concern, apprehension at the uncertain outcome then we wouldn’t otherwise see. Even perhaps neglect. They have been orphaned constantly monitors herself. the secrets of our consciousness. multiple times. Six people closest Her feelings are reported as have attended well to the psychological drama. It is a story built on to them have died – father, mother, facts. The more information she Trying to pin the truth down has the grandfather, grandmother, Quint and provides the more confusing and ambiguity. It invites us to reach for resolution on things unspoken arbitrariness of a ’s game where Jessel. They know more people who claustrophobic things become. and unspeakable. More fool us. As Henry James said of his story: melody and accompaniment are at are dead than alive. In the short story, With her at the centre of the work cross purposes. The opera gains its we are told their grandparents died we have a central nervous system “Only make the reader’s general vision of evil intense enough, and his power from the way it sets distinct in India. And so the children have that is tense, fraught, alarming, opposing currents running forcefully moved continents - warm to cold; brimming and highly strung. (sic) own experience, his own imagination, his own sympathy (with against each other. These currents home to ; into the destabilise. They confuse and subvert care of strangers. It is understandable The needs the ghosts the children) and horror (of their false friends) will supply him quite the way information is received. that they would turn in on each other as they will force the children to need sufficiently with all the particulars.” The level of anxiety ratchets up and Even the sweet English folk song for comfort and understanding. her at the deepest level. They lend her and nursery rhyme "Lavender's Blue", They are survivors. life meaning. down through the episodic nature of the prologue and sixteen scenes, sung by the children, is also about a girl keeping the singer’s bed warm. It is hard for the presence of the But then again, if she has made them the musical variations of the ‘Screw’ theme built around a twelve note Governess to register as fully with up so have we. Britten wanted children to play the them as all the things they have lost. row and Britten’s use of the upper registers of the human voice in children but found it impossible to As a result Miles and Flora never Thomas de Mallet Burgess characterisation. Everything points to the vulnerability of innocence, cast a suitable girl for the role of Flora. fully meet the feelings of love she Director The libretto refers at one point to a conceives for them. including our own. line from a poem by W. B. Yeats "The Conductor Holly Mathieson is this year’s Ryman Dame Foundation Mina Foley Associate Artist, returning to New Zealand for her debut with New Zealand Opera’s 2019 produc�on of The Turn of The Screw.

New Zealand-born Holly Mathieson, based in Glasgow, has recently enjoyed a 2018/19 season that saw her debut with the BBC Sco�sh Symphony Orchestra, BBC Na�onal Orchestra of Wales, the Royal Liverpool Philharmonic Orchestra, Opera North, English Touring Opera, Na�onal Youth Orchestra GB, Ulster Orchestra and Symphony Nova Sco�a, as well as return appearances with the Auckland Philharmonia, Sco�sh Chamber Orchestra, Southbank Sinfonia, Royal College of Music Philharmonic Orchestra, a na�onal tour with Sco�sh Ballet and performances at Garsington Opera Fes�val.

The Ryman DMMF Mina Foley Award is in memory of the New Zealand soprano who died in 2007. Mina Foley was a hugely promising talent who cap�vated local audiences in the 1950s and was the first singer trained by Auckland teacher Dame Sister Mary Leo,  who also taught Dame Malvina Major, Dame and Dame Heather Begg. Sadly, Mina was never able to achieve her full poten�al as a singer due to poor health, but her rela�vely short career was remarkable nonetheless.

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Proud supporters of New Zealand Opera’s Dame Malvina Major Emerging Artists and Young Artist programmes, and the PHOTO: DAVID ROWLAND DAVID PHOTO: Ryman DMMF Mina Foley Award. PHOTO: SIMON WATT SIMON PHOTO: MELVILLE MARTY PHOTO:

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

dmmfoundation THE Britten’s first composition draft of (Mostly he would erase errors with haunting ‘Malo’ song from Act I. TURN OF THE the Prologue is curiously stilted. the India rubber he kept to hand, not So what exactly has she won? She SCREW The harmony is static, the melody write a whole new draft.) In the first, has pushed Quint away from Miles, scale-like, the harmonic symbolism once Miles has finally denounced and has seen off Miss Jessel, but unformed. There is none of the Quint, the ghost disappears pretty the boy is dead in her arms. Did she drama of the final version, none of smartly, and the boy collapses into literally suffocate him with her love and James’s frightening Victorian parlour ’s arms. In the second comfort? Did this spectral showdown atmosphere, where we really feel draft, Miles collapses into her arms and Miles’s enforced denunciation – as though we are gathered beneath after the denunciation, while The ‘Peter Quint, you devil!’ – rob him of gently hissing gas lamps, steeling Governess and Quint sing in unison his lifeblood? It’s a pyrrhic victory, ourselves to hear a terrifying ghost the ghost’s beguiling, melismatic regardless. The Governess’s morality story read out loud. The text is more or melody, in his key. (The Governess has not trumped Quint’s. And we are less as we know it, including the very has her own key, a semitone higher.) not even sure that the ‘you devil’ is not Are the ghosts in Britten’s 1954 opera to get right the balance between important line that The Governess The implication here is clear: The directed at The Governess, rather than real? Well, he gave them words to making the opera explicit and keeping ‘must do everything. Be responsible Governess and Quint are unified Quint, who after all has forced Miles to Are the ghosts in sing. And he stuck to James’s detailed it ambiguous. for everything! Not to worry him at all. in Miles’s demise. The third draft betray his mate. Henry James’s novella The description of the manservant Peter Never, not to write, but to be silent, plays out pretty much as the second, Quint, leaving subsequent generations The first of these two scenes is the and to do her best.’ Yet although this extending it by five bars, but keeping It’s all deliciously unclear. Singers, Turn of the Screw real? of directors and tenors reaching, prologue, a late addition to the opera, draft does not come close to the final the two parties equal in their conductors and directors must sometimes reluctantly, for a close- in which an unnamed narrator tells of version on most levels, which really complicity. determine during rehearsals what curled red wig, white pancake and a ‘a strange story’ written in the hand of does have a claustrophobic Jamesian actually transpires, and then decide Britten thought so, at least at first. razor. It would appear, then, that the a young governess entrusted with the feel to it, already Britten and his The scene as we know it today is far how much of this to divulge to their He passionately swatted down the ghosts’ interaction with the children care of two children by their absent, librettist, Myfanwy Piper, were making more nuanced. The two adults do sing audiences. After all, there is much to arguments put forward by his friend, and their final showdown with The charismatic, playboy guardian. The explicit from the get-go that whatever together, but what they articulate is be said for people leaving a theatre, the young Earl of Harewood, who Governess are as they seem. Prologue was written, at least in part, transpired, The Governess was in the not Quint’s distinctive siren call; the scratching their heads, saying: ‘But thought it just as feasible that they to flesh out an incredibly taut and thick of it. She is : the final melisma, as the ghost departs, is hang on a minute ..’ Yet Britten had also learned the power terse opera, in which scarcely a note decisions are all hers to make, good Quint’s alone, but for the first time he were a product of the governess’s of dramatic ambiguity in his previous is wasted; it seemed a little short and bad. sings it in The Governess’s key: she has Dr Paul Kildea fevered imagination. In this Harewood . What was the exact cause of as a consequence. But it was more won. The Governess embraces poor Dr Paul Kildea is the author of Benjamin was replicating the line taken by the ’s persecution complex? than an issue of length. Sometimes The final scene, in which Quint and The Miles while this occurs, comforting him Britten: A Life in the Twentieth Century perceptive writer and critic Edmund Did the beautiful Lucretia secretly Britten just couldn’t leave things Governess slog it out for young Miles’s in his distress, and only once Quint has and, most recently,Chopin’s : A Wilson, who thought the young desire the Etruscan thug Prince alone, couldn’t trust a story to tell itself soul (or body?), caused Britten much gone does she realize the boy is dead. Journey through Romanticism, both governess almost certainly insane. Tarquinius, who forces his way into without framing it somehow. The Rape more trouble. He wrote four drafts, It’s a devastating moment, and she published by Penguin. She’s an unreliable narrator, granted, her house with rape on his mind? Is of Lucretia is only the most notorious which for him was highly unusual. cries out in anguish, revisiting Miles’s but an unstable one to boot? Albert Herring gay? Is John Claggart example of this in his œuvre, where a gay? Is Captain Vere gay, come to think Male and Female Chorus comment of it? No answers are specified, and on the context and action on stage, audience members trudge out of the ending the pre-Christian tragic opera theatre, scratching their heads, uttering with a frankly bizarre meditation on that great post-theatre phrase: ‘But Christ’s salvation. There is a narrator hang on a minute . . .’ Ambiguity is a in Paul Bunyan, strumming his way psychological tool, yet it is also a great through America’s new frontiers, filling narrative device. in the many historical gaps. There are Are Your Cyber wordless interludes in Peter Grimes, There is also evidence that Britten loaded with meaning. There’s another struggled with two key scenes in his strumming narrator inGloriana , who Defences on Key? opera, intentionally muddying the bravely attempts to compact a bloody waters with each subsequent draft year of Elizabethan history into a of the second. He normally had a few stanzas.Death in Venice boasts Cybercriminals often use deception and disguise to obtain access pretty steady hand when it came to an erotic dream sequence and the sketching his operas. Most of the work metaphor-laden ‘Games of Apollo’. to your data for malicious gain. Does your organisation have the had been done by the time he got to Sometimes they work brilliantly, as right systems, processes and technology in place to defend itself his composition desk – on long walks in the prologue and epilogue to Billy against the growing number of cyber threats? along the brooding, unforgiving Suffolk Budd, written three years beforeThe coast. Or in marathon sessions with his Turn of the Screw, in which an elderly librettists. (He was no longer content to Captain Vere looks back with regret Aura information Security are trusted experts in cyber security, leave the words to his librettist alone, as and a sense of culpability on the providing advice and support to organisations and government he had more or less done with Auden events described in the opera proper. on Paul Bunyan, to fairly catastrophic This is almost a cinematic technique, across Australia and New Zealand. results.) Once this work was complete, as it is in the final scene ofGloriana once the shape of the whole piece was (1953), where characters and motifs formed in his head, finding the right from the Queen’s life return to haunt notes was almost a reflex action for her. Reminiscence and nostalgia were him. He was often asked how a new key components of 1930s cinema, piece was coming along, and he would which is when Britten first discovered Talk to the award-winning reply that it was all done; all he had to the movies, to his great joy; there was cyber security experts WINNER WINNER do was write down the notes. So his inevitably some bleed from one genre iSANZ iSANZ Best Security Best Security very real problem with these particular to the next once the young movie buff Company Company scenes is indicative of his determination started composing operas. aurainfosec.com 2017 2018 THE TURN OF THE SCREW

Foundation bequestors 23 anonymous, The Les & Sonia Andrews Cultural Safeguarding the future Foundation, Garry F Bell, The Peggy Hutchings Estate, Athol Mann, Donald Trott, Belinda Vernon, Glenda Credits West, Dr Rosi Horrocks, Whanganui Regional Opera, Roger Beaumont, Tim & Lorraine Olphert, of opera in New Zealand John & Margaret Hunn, Estate of Shona Spencer+, Eric Johnston & Alison Buchanan. Cast Production Team

Governess Production Manager Robert Hunte New Zealand Opera has a reputation for over time have acquired unique knowledge and trustees of the New Zealand Prologue/Peter Quint Jared Holt Company Manager Inge Teunissen producing world class opera and the country expertise to advise existing and potential donors. opera Foundation Miss Jessel Madeleine Pierard Stage Manager Lucie Camp has produced a great number of world class The Foundation has been set up to respect Sir David Gascoigne KNZM CBE, Chair, Bill Falconer Mrs Grose Patricia Wright Deputy Stage Manager Youra Hwang opera singers, many of whom have made a any donor or bequestor’s wishes through which CNZM, Margaret Hunn, Mark Horton, John Harvey, Flora Olivia Forbes, Alexa Harwood Assistant Stage Manager Maddy Powell big impression on the stages of national and donors or bequestors can be specific about Suzanne Snively ONZM, Jenny Loosley, John Meads, Miles Lukas Maher, Alexandros Swallow Head Mechanist Oliver Hawke – Hawkeye Productions Ltd international opera houses. This could not have their level and area of support and particular Paul McLaren, Adam Ross QC, Donald Trott ONZM Head of Lighting Kevin Greene happened without the generous support from advice can be given on how to contribute to the JP. Administrator: Thérèse Kelly. Accountant: Creative Team Head of Lighting Assistant and Lighting Board trusts and individuals that New Zealand Opera Foundation, including the provision of suitable Ruth Middleton Operator Zachary Howells Limited (a registered charitable organisation) wording to be used with a codicil to your will. Conductor Holly Mathieson Scenic Artist Gemma Fieller has received and that talented singers have Director Thomas de Mallet Burgess Head of Wigs & Makeup Charlie Oswin had to rely on to help develop their careers As the only national Opera Foundation in New Zealand, we would like to encourage you to be Set and Costume Designer Tracy Grant Lord Deputy Wigs & Makeup Assistant Karina Jonassen and become highly respected professionals. members of the Foundation Lighting Designer Matthew Marshall Head of Wardrobe Sophie Ham part of this ongoing support for New Zealand Members are people who have given meritorious It was for this reason that the New Zealand Assistant Director Eleanor Bishop Wardrobe Supervisor Sara Whittaker Opera Limited and our aspiring young opera service to opera through governance and Opera Foundation Trust was set up in 2003 as Wardrobe Assistant & Pattern Maker Alice Hayes singers to make sure that opera continues to management and who have been nominated by the a registered charitable trust to take a leading, develop and thrive, through your legacy, in the Props Master & Builder Grant Reynolds trustees Music Team Audio System Designer Ratu Gordon national role in attracting funds through which hearts and minds of our dedicated audiences it can ensure the future of professional opera and our young aspiring singers and artists Répétiteur David Kelly Floor Electrics and System Technician Spencer Sally Abernethy, Gregory Aim+, Jonathan Alver, Scott in New Zealand and assist selected young involved in the creation of opera. Musical Preparation Rosemary Barnes, Lesley Graham, Earwaker (AKL), Cameron Nicholls (WGTN) Ashton, Peter Averi, David Bigio, Lew Brown, Graham opera talent to achieve their ambition. Beattie, Alison Buchanan, Bruce Carson, Clare David Kelly, Catherine Norton, Shelagh Richardson, Lindy For additional information, assistance or Castle,+ Don Christiansen, Robin Congreve, Stephen Tennent-Brown, Michael Vinten The Foundation is a completely independent specific advice related to your individual Special Thanks Dee, Susie des Tombe, Christopher Doig+, Graeme and secure, dedicated fund manager for gifts, circumstances, please contact Donald Trott Edwards, Chanelle Farmer, Kim Fisher, Creena Auckland Theatre Company trusts and legacies from a wide variety of on 0274 587 411 or 06 345 5866, Gibbons, Dame Jenny Gibbs DNZM, Angela Gorton Lewis Eady people who have a specific passion for and PO Box 7268, Mid City Whanganui, email JP, Mark Horton, Patricia Hurley, Eric Johnston, Orchestra Wellington interest in opera and who want to invest in the [email protected]. Harvey Kerr+, David Lewis, Sandra Lawrence +, future of opera in New Zealand by supporting Barbara Matthews, Tony McElwee, John Morrison+, New Zealand Opera Limited and continuing to Barbara Moses JP, Matthew Muir, Lorraine Olphert, assist selected young opera talent. Catherine Peters, Maree Reynolds, , Sally The Trustees have built long term objectives to Sloman ONZM, The Hon Dame Catherine Tizard secure the future of opera in New Zealand and ONZ, Joanna Todd, Rosalie Thurston, Graham Upson, Gus van der Roer, James Young, Dame Beverley Wakem DNZM. + In Memoriam

“Making a bequest to the opera From left to right: Kristin Darragh, Catrin company is the least I can do to say Johnsson and Amelia Berry performing in New Zealand Opera's, The Magic Flute. This production thank you for providing me with so was proudly supported by the New Zealand Opera many happy and exciting hours of Foundation Trust. opera going.” Garry F Bell

24 THE TURN OF THE SCREW Prologue. Act II A male figure introduces us to Quint and Miss Jessel argue. a ‘curious story’, that of a young Jessel accuses him of betrayal. Synopsis governess hired by a handsome He is interested in another kind of guardian to instruct his niece companion. Together they proclaim, and nephew, two young orphans. “The ceremony of innocence is Furthermore, he has instructed her to drowned.” The Governess feels that The action unfolds follow three rules: never write to him she is lost in a labyrinth, unable to about the children, never ask about decide how to act. through a prologue the history of Bly house and never abandon the children. In the churchyard, the children sing and sixteen scenes a gently mocking variation of the ‘Benedicte’. Mrs. Grose finds their of an episodic nature. Act I play sweet; the Governess finds it The Governess, traveling to Bly, horrifying. She tells the housekeeper These are connected wonders about the children and her that the children are not with them capacity to look after them. Miles and but are under the power of Quint and by musical variations Flora - together with the housekeeper, Jessel. Mrs. Grose urges her to write Mrs Grose, welcome the Governess. to their uncle, but the Governess of the ‘Screw’ theme Mrs Grose assures her they are clever declines. Mrs. Grose takes Flora into and good. The Governess feels a the church and Miles challenges the built around a strange connection to Miles. When Governess, asking if his uncle shares twelve note row. a letter from Miles's school arrives her suspicions. Stunned by Miles’s informing her that Miles is expelled challenge, the Governess resolves to The sequence and with no reason given, it is a huge leave Bly. shock. Mrs Grose's protestations ascends in the first and the sight of the children playing In the schoolroom, the Governess reassure her; she decides to ignore it. finds Miss Jessel. Confronting her – Act and descends Jessel vanishes. Believing the ghosts While outside, the Governess sees a might not yet have the upper hand, the in the second Act. a figure on the tower whom she first Governess writes to the guardian. imagines to be the children's guardian. But it is not. He disappears. Later, The Governess tells Miles that she as the children are playing indoors, has written the letter and begins the Governess sees the man again, questioning him gently about what gazing in at the window. Mrs Grose happened in the past. Miles does not identifies him as Quint, the master's answer. Quint calls to him. former valet and Miles's companion, who "made free" with the Governess's Quint's voice is heard encouraging predecessor, Miss Jessel. Both are now Miles to retrieve the letter. He dead. Horror-struck, the Governess complies. During Miles's piano fears that he has come back for Miles, practice, the Governess realises that and swears to protect the children. Flora has slipped away - to meet, she suspects, Miss Jessel. She and Mrs In the schoolroom, Miles recites Grose go in search of her. his Latin lesson for the Governess, while Flora competes for her attention. Miles At the lake, the Governess accuses recites an odd poem, and the Governess Flora of seeing Miss Jessel, who remains wonders who taught it to him. invisible to Mrs Grose. Flora denies it, and accuses the Governess of Sitting by the lake with Flora, the cruelty. She leaves with Mrs Grose. The Governess catches sight of a woman Governess realises she has lost Flora. all in black, who disappears as mysteriously as she appeared. The After a night spent listening to Flora Governess believes Miss Jessel has raving in her sleep, Mrs. Grose decides returned. She becomes convinced that she must take the child away from that both children are lost. Bly. The Governess is left alone with Miles, who eventually admits that he At night, Quint calls out to Miles, and took the letter. When the Governess Miss Jessel to Flora. The Governess asks who made him take it, Quint comes upon them as the ghosts warns Miles not to betray them. The disappear and asks Miles what he is Governess demands a response from doing. "You see, I am bad," he answers. Miles. The boy, distraught, eventually gives her the answer. THE TURN OF THE SCREW

Creative Team

Conductor Director Set and Costume Lighting Designer Assistant Director Designer Holly Mathieson Thomas de Mallet Matthew Marshall Eleanor Bishop Ryman Dame Malvina Major Foundation Burgess Tracy Grant Lord Proudly supported by Sir William and Lady Proudly supported by Chapman Tripp Mina Foley Associate Artist Proudly supported by Friedlander Proudly supported by Dame Jenny Gibbs Manchester Charitable Trust Foundation

Eleanor Bishop is a stage director New Zealand-born Holly Mathieson Thomas de Mallet Burgess is a Tracy Grant Lord is a set and costume Born and raised in Perth Western working across theatre and opera. is an exciting conducting talent, based graduate of St. Edmund Hall, Oxford designer of opera, ballet and theatre Australia, Matthew Marshall is a She has been described as “one out of . Until recently she held University. He has established an based in Auckland. Recent world graduate from the West Australian of New Zealand’s most daring, positions as Assistant Conductor at international reputation for directing premieres include Liam Scarlett’s Academy of Performing Arts (WAAPA) intelligent, and political directors” the Royal Scottish National Orchestra award-winning opera and leading Dangerous Liaisons for Queensland in 2001. Matt spends his time as an (The Theatre Times). Recent works and Resident Conductor within the ground-breaking research in opera Ballet and Texas Ballet Theatre and International Man of Mystery with no include George Bernard Shaw’s National Youth Orchestras of Scotland. performer training. His substantial Tchaikovsky: The Man Behind the fixed address, working on productions Mrs Warren’s Profession (Auckland She is currently Co-Artistic Director of credits as an opera director Music for Ma Cong and Tulsa Ballet throughout Australia, New Zealand, Theatre Company 2018), Body the Nevis Ensemble she founded with encompass critically acclaimed Theatre. Other recent designs include and the USA. Double (STAB Commission 2017, Silo her conductor husband. productions for national companies The Audience for Auckland Theatre Theatre/Auckland Arts Festival 2018) such as House Company, A Doll’s House Part 2 Matt has been nominated for his work and Jane Doe, a participatory piece The past two seasons have seen Covent Garden, Canadian Opera for Theatre Company, twice by The Helpmann Awards for about rape culture that has toured US her debut with almost all key UK Company, Opera Ireland and one of and Twelfth Night for Queensland Best Lighting Design (2012, 2017) and college campuses, to Edinburgh, New orchestras, including the London the world’s most important opera Theatre. Her work has toured the has received nominations for Best Zealand and Australia. Symphony, Royal Philharmonic, festivals, Wexford Festival Opera. , China and South Lighting Design from the Australian City of Birmingham Symphony, East Asia including Christopher Production Design Guild. Yes Yes Yes, a new theatre piece London Philharmonic, BBC Scottish He is author of the ground-breaking Hampson’s Cinderella for Scottish about consent created for young Symphony, BBC Philharmonic, BBC performer training work: “The Singing Ballet, Romeo and Juliet for Royal Recent works include Tchaikovsky people 14-22 premiered in 2019. MFA Concert and BBC National Orchestra and Acting Handbook” (published New Zealand Ballet which received (Tulsa Ballet), Club Swizzle in Directing from Carnegie Mellon of Wales as well as regular tours with by Routledge) and a regular visiting an Olivier Award Nomination for Best (Roundhouse London), American Idiot University in Pittsburgh, PA, USA Scottish Ballet and further afield in artist at conservatories worldwide. New Dance Production in the UK, (Shake & Stir/QPAC), VELVET (2017 where she studied as a Fulbright Canada, Australia and New Zealand. His strong commitment to the role of and Liam Scarlett’sA Midsummer Australian/NZ Tour & Norwegian Scholar and John Wells Fellow. She This August she toured the the arts in encouraging communities Night’s Dream for Queensland Ballet Cruise Jewel & Breakaway), works as an assistant director for islands with the Nevis Ensemble, to find their voice has resulted in a and the Royal New Zealand Ballet Band of Magicians (Tropicana Casino New York based multimedia theatre garnering much press attention. sustained history of collaboration debuting in North America 2020. Las Vegas) and Billy Elliot (Auckland company The Builders Association/ with the Learning and Participation Tracy has received Helpmann Award Theatre Company). Matthew’s opera Marianne Weems and at New York The 2019/20 season will see programmes of major organisations Nominations for In the Next Room credits include La bohème (Opera venues the Park Avenue Armory, her debut with the Philharmonia in the UK, including English Touring (STC) and The Importance of Being Australia),Iphigenie En Tauride, Brooklyn Academy of Music and Orchestra, English Touring Opera, Opera (where he pioneered a three- Earnest (MTC) and designed Billy , , & Rameau Triple Montclair Peak Performances. Scottish Opera and Opera North UK. year programme on music with the Elliot the Musical (ATC), the inaugural Bill (Pinchgut Opera), Cinderella, Alumna of the Académie du Festival Deaf Community). production at the ASB Waterfront The Barber of Seville (Seattle Opera, d’Aix’s Women Opera Makers Holly’s debut CD on the Decca label Theatre in Auckland. Opera Queensland), La Cenerentola Workshop with Katie Mitchell and featuring Clara Schumann’s Piano Before moving to New Zealand Opera (New Zealand Opera, Royal Swedish member of the Lincoln Center Theatre Concerto with the Royal Liverpool he founded Lost & Found Opera in Tracy is a Winston Churchill Fellow, Opera, San Diego Opera), Directors Lab. BA in Theatre (Honors) Philharmonic Orchestra was released Perth, hailed as “the nation’s most has a Bachelor of Spatial Design and (New Zealand Opera, Oper Leipzig, from Victoria University of Wellington. in July 2019 and reached No.1 in the innovative opera company” (Opera her work has been shown at both the WA Opera), Götterdämmerung, St UK Classical charts. Magazine) and “one of the few Prague Quadrennial and World Stage Matthew Passion,A Flowering Tree genuinely disruptive arts organisations Design exhibitions. and Candide (Perth International Holly was named as one of New in Australia” (The West Australian). Arts Festival). Zealand’s Top 50 Women of Achievement in 2016. THE TURN Flora OF THE SCREW Olivia Forbes

Olivia Forbes is a senior prefect and house captain at Auckland’s Kristin School. Under the tuition of Shelagh Richardson, Olivia has completed ABRSM singing exams Cast up to grade six with distinction, and is working toward grade seven. A member of Kristin’s auditioned choir Treble Clefs in year five and six, Olivia is now a senior member of the school’s premier female choir Euphony, as well as being a member of Auckland Youth Choir. She has performed principal roles in many school productions most recently Annie inChicago . Olivia also learns piano, and was a National finalist for the Play it Strange song writing competition.

Flora Alexa Harwood

Alexa has been studying Classical voice for 8 years under Governess Prologue / Peter Quint Miss Jessel Mrs Grose much respected singing teacher Shelagh Richardson and is currently working towards her ABRSM Grade 7 in Vocal Anna Leese Jared Holt Madeleine Pierard Patricia Wright Performance and Grade 5 in Piano. Alexa also studies music theory and higher-level music as part of the International Proudly supported by Elizabeth Proudly supported by John and Margaret Proudly supported by Patricia Morrison Proudly supported by The Wallace Baccalaureate curriculum. A Year 12 student at Kirstin School, Ball Trust Hunn QSM Foundation she performs with Euphony Choir and competed earlier this year at the Budapest International Choral Competition and in Dunedin for the NZCF Big Sing Finale in August. She most Anna Leese completed a Bachelor of With a degree in Classics and Law Soprano Madeleine Pierard studied at the Patricia Wright has performed regularly Royal College of Music and National Opera in opera, orchestral concerts, festivals, recently performed the role of of Mary Sunshine in the Senior Music degree with First Class Honours at (Honours) after winning the Mobil Song School Production ofChicago . the University of Otago before relocating Quest, Jared Holt furthered his vocal Studio, garnering numerous awards, and recitals and CD recordings. She is one of to London. A multiple award winner she studies at the Royal College of Music, was a Jette Parker Young Artist with The New Zealand’s best known and versatile has represented New Zealand in the London before joining the Jette Parker Royal Opera, Covent Garden. Madeleine’s sopranos. Cardiff Singer of the World competition, Young Artists Programme at the Royal recent roles for The Royal Opera include and is currently a Classical Vocal Tutor in Opera House, Covent Garden. Contessa di Folleville (Il Viaggio a Reims), She studied under New Zealand’s iconic Miles the School of Performing Arts, University Musetta La( Boheme - London/Istanbul), Dame Sister Mary Leo and Australia’s of Otago. As a , Jared appeared with the Lisa (), Berta (ll Barbiere di famous Dame and now Lukas Maher Covent Garden, Siviglia), Sandmann (Hänsel und Gretel), is a revered tutor in her own right. Anna has performed at the Royal Opera Glyndebourne Festival and Touring Opera, Sacerdotessa (), Noémie (Cendrillon) and Wood Nymph (); and cover Patricia gained recognition singing at the House Covent Garden, the Classical Opera Teatro , Northern Sinfonia, The Turn of the Screw is Lukas Maher’s fourth production of Kát’a Kabanova, Violetta, Donna Anna, major venues in London and throughout Company, Opera Köln, Flanders Opera, , NBR New Zealand Opera, with the company since his debut in in 2015. He has Marfa (The Tsar’s Bride), Elettra ( ) the UK. She recorded for the BBC in Opera Holland Park, Canadian Opera Auckland Philharmonia, also performed several times with Royal New Zealand Ballet, and Leila (Les Pêcheurs de Perles). both live performances and recording Company, and for New Zealand Opera. City Choir, Napier Civic Choir, and at and as Benji in the most recent touring production ofPriscilla studios. She was placed second in the the Adelaide and Auckland Festivals. Queen of the Desert. He has also performed with Auckland Other recent roles include Lady Macbeth prestigious Benson and Hedges Gold Anna’s concert engagements His oratorio and concert performances Music Theatre, Opera Factory, in commercials and on the with ETO; Violetta, Pat Nixon Nixon( in Award for singers and represented NZ in include Mahler’s 2nd Symphony with included Bach Passions and Christmas television series Power Rangers. Lukas works with singing China) and Musetta with New Zealand the Cardiff Singer of the World competition. Bernard Haitink, BBC Proms with Sir Oratorio; BrittenWar Requiem; Handel teacher Fay McNeil and has been awarded distinction in Opera; Anne Trulove and Marzelline with Returning to NZ in 1993, she continued to Roger Norrington, Brahms Requiem, ; and Orff Carmina Burana. Jared ABRSM levels four and five. He regularly is placed in the APO; Musetta in La Boheme at the sing major opera roles, guest artist concert Mendelssohn’s Elijah, Beethoven’s 9th also recorded the role of Melot (Tristan singing competitions and also is training in ballet and tap. Symphony, Mahler’s 2nd Symphony und Isolde) with the Orchestra of the Royal Albert Hall; Louise (Louise), Elettra appearances with leading orchestras, and Messiah, Vaughan Williams’ Sea Royal Opera House Covent Garden under (Idomeneo) and Cecilio (Lucio Silla) for The oratorio and recital concerts both at Symphony, Freia in Das Rheingold, and Antonio Pappano on EMI Classics. Buxton Festival, Female Chorus The( Rape home and internationally. recitals at the . of Lucretia) under Muhai Tang in Tianjin; Miles Having now made the transition to tenor, and the title role in Rufus Wainwright’s Patricia has had many career highlights, Most recently Anna has sungMessiah this year he appears with Auckland Prima Donna. including singing the Verdi Requiem and Alexandros Swallow with Queensland Symphony, Haydn Philharmonia Orchestra Man( sitting in a Richard Strauss’ Four Last Songs for the Nelson Mass with Auckland Choral Garden/Young), Christchurch Symphony Madeleine’s recent concert appearances first time with the Auckland Philharmonia, Society, High Priestess Aida( ) with the Orchestra (Mozart’sRequiem ), Napier include Beethoven’s 9th Symphony with which she describes as “terrifying but This is Alexandros Swallow’s third production with NZO. APO, and given recitals in London, Civic Choir (Beethoven Symphony No. 9 Royal Philharmonia at The Barbican, exhilarating”. Favourite operatic roles have He was member of St Marks Church School Con Brio and Oxford and at Dunedin Arts Festival. and Choral Fantasy), and Auckland Choral Britten’s War Requiem at the Cadogan been Madame Butterfly, Leonora, Donna Schola Cantorum choirs, the Cantata Memoria choir and the This year Anna will also return to Dunedin Society (Haydn’s Nelson Mass). Jared also Hall; Handel’s Messiah under Nicholas Anna, Countess Almaviva, Mimî, Magda, New Zealand Children’s Choir. He performed at the Junior Symphony, Christchurch Symphony and returned to Opera Australia to cover the McGegan; and an opera gala with Liù, Nedda, Norina, Alice Ford, Gilda, Oscar, Theatre Festival in Atlanta, where he won a scholarship to Auckland Philharmonia. title role in Werther. l’Orchestre Symphonique de Bretagne. Micaéla, Despina. New York to take part in the iTheatrics Junior Theatre The 19/20 season includes a concert of Academy. He played the title role in Upper Hutt Musical Anna’s recordings include Elgar’s The Brahms Lieder with Michael Houstoun in Theatre’s production ofOliver! . Alexandros has completed Apostles, a recital disc with Graham the Hawke’s Bay Festival; Die Aufseherin Grade 4 Jazz Piano and Grade 3 Music Theory with teacher and Chrysothemis (cover) (Elektra) for Johnson, and Haydn: ‘Italian Love Songs’. Anya Nazaruk, and has gained ‘Distinction’ in his last six The Royal Opera, Covent Garden; and Trinity College London Speech and Drama Exams. Beethoven’s 9th Symphony with the APO. When it comes to moving, turns to NZ Van Lines.

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The Orchestra

Orchestra Wellington Auckland Philharmonia Orchestra

Concertmaster Music Director Justine Cormack Giordano Bellincampi

Violin One Concertmaster Justine Cormack Andrew Beer

Violin Two Second Violin HyeWon Kim β Dianna Cochrane

Viola Viola Sophia Acheson β Robert Ashworth

Cello Cello Brenton Veitch + David Garner

Bass Bass Paul Altomari β Gordon Hill

Flute Flute Karen Batten * Jenni Seddon-Mori

Oboe Oboe Merran Cooke β Bede Hanley

Clarinet Clarinet Nick Walshe β Jonathan Cohen

Bassoon Bassoon Colin Forbes Abrams β Ingrid Hagan

Horn Horn Shadley van Wyk β Nicola Baker

Harp Percussion Carolyn Mills β Eric Renick

Timpani Harp Dominic Jaquemard * Ingrid Bauer

Piano/Celeste Piano/Celeste David Kelly David Kelly

β β Section Principal = Section Leader Emeritus * Principal + Associate Principal # Sub-Principal THE THE TURN TURN OF THE OF THE SCREW SCREW

26 New Zealand Opera in the community.

‘A year at a glance’

We love opera and we aim to welcome, and be inclusive to the people of Aotearoa. 30,000 + 5,000 + Experienced live opera People and families attending live events

63schools 600 + 14% 35 Participated in our Opera Employment opportunities New audiences and Corporate partnerships in Schools programme for arts workers growing...

12,500 + Major collaborations with Students and teachers were delighted by opera 4 other arts organisations THE THE TURN TURN OF THE OF THE SCREW SCREW

NZ Opera Staff and Contact Board Details

Staff Patrons Contact Details General Director Thomas de Mallet Burgess The Rt Hon Dame GNZM, QSO, Governor-General Auckland ASB Waterfront 5 / 69 St Georges Bay Road, 138 Halsey Street Executive Assistant Josie Maskell Hon Phil Goff, Mayor of Auckland Parnell, Auckland 1052 Auckland CBD Director Artistic Operations Shona Roberts Justin Lester, Mayor of Wellington PO Box 6478, Wellesley Street, Auckland 1141 Auckland 1010 Head of Music Lindy Tennent-Brown Hon Lianne Dalziel, Mayor of Christchurch (09) 379 4068 asbwaterfronttheatre.co.nz Artist Resource & Contracts Manager Jessica Duirs The Hon Dame Catherine Tizard ONZ Box Office 0800 696 737 Chief Executive: Jonathan Bielski Artistic Administration & Company Manager Inge Wellington General Manager: Anna Cameron Teunissen NEC Building, Ground Floor, 40 Taranaki Street, Ticketing and Front of House Manager: Gary Barker Artist Development Manager Glenn Meade Board of Directors Wellington 6011 Front of House Manager: Ralph Corke Annabel Holland (Chair), Tim Brown, Jim He Zhiyun MNZM, Technical Co-ordinator Hemi Wi-Piti PO Box 6588, Marion Square, Wellington 6141 Ticketing Administrator: Joni Nelson Witi lhimaera DCNZM QSM, Philip King, Matt Maling, Director Marketing & Development Terri Cumiskey Annika Streefland, Suzanne Snively ONZM, Edward Scorgie, Christchurch Ticketing Executive: Melissa Handley Marketing Manager Ali Davies Rachael Walkinton PO Box 36579, Merivale, Christchurch 8146 Business Development Manager: Geeling Ching Philanthropy & Grants Manager Rebecca Galloway Events and Sales Manager: Tracey Rowe Development Manager Rosalind Hemmings [email protected] Event Coordinator: Camille Rees Development Manager Anna Hoetjes Artist Development nzopera.com facebook.com/nzopera Food and Beverage Manager: Michael Hemmerde Arrieta Box Office Manager Julie Bird Dame Malvina Major Emerging Artists 2019 youtube .com/ nzopera Venue Technical Manager: Josh Bond CRM Manager Alison Lambert Will King, Pasquale Orchard & Angus Simmons instagram.com/nz_opera Venue Technician: Johnny Chen Publicist Josie Campbell Dame Malvina Major Foundation Fellow 2019 Marketing and Communications Manager: Natasha Director Participation Joanne Cole Joel Amosa THE OPERA HOUSE Gordon Managed by WREDA trading as Venues Wellington Participation Co-ordinator Andrew Gordon Ryman DMMF Mina Foley Associate Artist 2019 111 - 113 Manners St, Te Aro, Wellington Marketing Campaigns Manager: Nicola Brown Director Finance & Administration Steffan Sinclair Holly Mathieson venueswellington.com Digital Marketing Coordinator: Brad Fisher Assistant Accountant Durene Gan Chief Executive Officer Lance Walker Pettman DARE Fellowship Intern Blaire White Chair Tracey Bridges General Manager Warrick Dent Head of Performances Helen Glengarry THE THE TURN TURN OF THE OF THE SCREW SCREW

Behind the Scenes – Costume

Set and Costume Designer Tracy Grant Lord

Miss Jessel and Flora

The Governess

Mrs Grose Quint and Miles THE THE TURN TURN OF THE OF THE SCREW SCREW

Benefactors

Inner Circle Bravo Circle Margaret Trotter Elizabeth McLeay Peter Ledingham Mrs Linda Webb MNZM & Mr Warwick Matt & Julie Maling Francey Lewis Elizabeth Ball Charitable Trust John & Margaret Hunn* Webb John Meads & Anne Marie Moorhead* Alison & Ken McKenzie Leona Wilson** Dr Cary Mellow* Ian & Jenny McKinnon Friedlander Foundation* Aria Circle John & Elisa Mendzela Anne McLean Dame Jenny Gibbs DNZM* Gold Don & Deirdre Milne Bruce & Sandi McLean* Patricia Morrison, QSM Heartland Trust John & Maureen Milne Murray & Ros McNaughten The Farina Thompson Charitable Trust Anonymous 7 Dr Stella Milsom Ann Mallinson The Opera Foundation Brent Anderson & Rae Mazengarb Alison Morton Dr Robert & Dame Lesley Max* We value the support of our The Wallace Foundation* Lyn Ashworth Roger & Barbara Moses* Arend Merrie benefactors. Together we can Turnovsky Endowment Trust Bill & Frances Bell Matthew Muir & James Peters* Robert Narev MNZM & Freda Narev QSM* David Binning* achieve much more and The Sir William & Lady Manchester Denise & Robert Murfitt Richard & Joan Neild* Charitable Trust Mr Joe Blackmore & Dr Kevin Sanderson Sue Naylor* d’Lainee free Noonan-Brown ensure the future generations David & Catherine Boyer Carolyn Penney Fay Pankhurst of Aotearoa can experience and Dress Circle Richard Braae & Andrea Gray Sam Perry & Iona Anderson Patricia’s Opera Tours – Patricia Hurley enjoy opera as much as we do. Je Lan Brash Barbara & Peter Raudkivi* John & Anne Priestley* Garry F Bell* Virginia Breen Mrs Rosalind Reece & Rhondda Ripley Peter Pritchard Sir Roderick & Gillian, Lady Deane* David Brown Graham & Lorna Robertson Mrs P Reid* Alfons & Susie des Tombe* Alison Buchanan & Eric Johnston John & Anne Roche* Sally & Shayle Sloman Bill & Olive Falconer* Richard & Kate Burtt David & Dian Ross* John & Vanessa Stephens* Trevor & Jan Farmer* Dame Silvia & Peter Cartwright Jay Scanlon Brian & Bea Stokes Helen Goodwin* Chris Christensen* Andrew & Jenny Smith Donald Trott* Dame Rosie & Mr Michael Horton* Alison Cook Suzanne Snively ONZM & Ian Fraser OBE Ann Trotter Mrs Beverley McConnell MNZM, QSM* Dorothy Coup Brian Stevenson ONZM & Pam Grant & Lynda Walter* New Zealand Charitable Foundation Gary & Julie Craig Stevenson* Anthony Wright & Selene Manning Mr Gary & Mrs Dot Paykel* John & Margaret Cullen* Dr Alastair & Mrs Susan Stokes Graeme & Lynley White Dame Adrienne Stewart DNZM QSM Dr Raewyn Dalziel Annika Streefland LLD(Hon) Stephen & Laura Dee Kate Stutter & Tim Harding Bronze The Robert & Barbara Stewart Charitable Lizzie de Lambert Lady Tait* Trust Allison & Victor Diem S L Thompson Our thanks also to all of our Bronze Prof A & Mrs R Thurston* Fraser & Barbara Finlayson* Dr Prue Tobin Benefactors. Noel & Kerrin Vautier* Cushla R Fisher Judith Trotter Peter Wilson ONZM & Gerda McGechan* Julie Fitzgerald Belinda Vernon* J & P Fitzpatrick Gael Webster & Tim Brown *Founding Benefactors Platinum David Flacks & Adina Halpern* Richard & Elaine Westlake Nick Francis & Stephanie van Leuven Jane & Paul Wright Sally & Euan Abernethy Helen Gaeta David & the late Helen Zwartz Paul & Sheryl Baines Beverly Gentles* Rosslyn Caughey Sandra Greenfield* Silver Susan Doig Michael and Jane Hall Steph Dyhrberg & Murray Bell Roger & Jennifer Hamlin* Anonymous 1 The Emery Family Peter & Joan Hanson* Dr M & V Abernethy Chanelle & Dean Farmer D R Harlen Jocelyn Afford & Stephen Kós Peter & Rae Fehl John & Gillian Harman* Jane Aim* Cathy Ferguson & Mike During* Jenny Harper Richard & Heather Armishaw Sir David Gascoigne & Dame Patsy Reddy* Prof Les & the late Dr Patricia Holborow* Warren & Margaret Austad Michael & Creena Gibbons* John and Annabel Holland Hon Margaret Austin Gilbert Glausiuss QSM & Patricia Glausiuss Dr Rosi Horrocks * & Simon Rutherford Eric & Pamela Bloomfield Grabs Trust Mark & Gillian Horton Bushell Charitable Trust Dr John Grigor & Ms Deborah Keating Don & Janine Hunn Dr Ivan Connell & Ms Margaret Casey John & Sue Harvey David & Sally Inns Christina & David Clee* Philip King Robert Johnston & Stella McDonald* John & Nora Gabriel Dr Tom & Mrs Ann Morris* Niels Jonker & Simon Robb Stephen and Margaret Gilbert* Ms Heather Pascual Geoff & Elizabeth Lee Anthony Grigg & Paul Williamson The Hon Dame Judith Potter DNZM* Kaye Lillico Jackie & Graham Guthrie Geoff & Carol Reed Robert & Jenny Loosley* Mr Timothy Hawley* Geoff & Fran Ricketts* Caroline & Gerald McGhie Antonia Hill Peter & Kay Squires Christine & Paul McLaren* Frances Hollis THE TURN OF THE SCREW

Partners

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

Government Partners magic of opera with more New Zealanders Chorus Partner Schools Partner               Community Partners Presenting Partner         

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Trust & Foundations

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