TURANGALÎLA OPERA’S MESSIAEN’S ANTIHERO THE AGE OF ADÈS MASTERPIECE DON GIOVANNI’S DISCOVERING COMES TO NEW RELEVANCE BOLD NEW MUSICAL AUCKLAND I N 2019 HORIZONS

SUMMER 2019 VOL.42 NO.1 your free copy

OUT OF THIS WORLD APO CONCERTMASTER ANDREW BEER PREPARES TO PUSH THE LIMITS OF VIRTUOSITY We’re taking you behind the headlines Get the inside story from our journalists bringing you all the news that matters.

Watch now at nzherald.co.nz/journalists apo.co.nz

3 UPFRONT WITH BARBARA GLASER 15 Bach and Beyond 4 APO NEWS Swedish conductor Sofi Jeannin talks about the demands of a unique Easter concert

7 Auckland Philharmonia Redefining Nature Orchestra 16 PO Box 7083 The orchestra takes you up close Wellesley St to the Animal Kingdom Antihero for the Ages Auckland 1141 ‘The opera of all operas’ in 2019 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] 18 apo.co.nz aporchestra Chauffeur to the Stars @aporchestra Tony Waring drives APO guests aporchestra in style Patrons Dame Kiri Te Kanawa, DBE, ONZ Dame Catherine Tizard, GCMG, GCVO, DBE, ONZ, QSO 8 19 Sir James Wallace, KNZM, ONZM Dame Rosanne Meo, DNZM The Nature of Love Vice Patron Sonic Riches Composer Ken Young discusses Dame Jenny Gibbs, DNZM, OBE A deep dive into Messiaen’s his new collaboration with Witi Auckland Philharmonia masterpiece Turangalîla Ihimaera Orchestra Board Geraint A. Martin (Chair) Symphony Leigh Auton DEVELOPMENT NEWS Richard Ebbett 20 Lope Ginnen

CONTENTS Pare Keiha 11 21 CONNECTING NEWS Kieran Raftery QC Eric Renick Soloist on a High-Wire Julian Smith APO Concertmaster Andrew Beer 23 MY GREAT LISTEN gets ready for the performance Singer Elise McCann of a lifetime 25 ME AND MY CELLO Katherine Hebley

26 OFF STAGE Kathryn Moorhead – pottery

29 CRESCENDO NEWS

30 FOUNDATION NEWS 12 CHAIR DONOR SPOTLIGHT PHIL NEWS Rich and Strange SUMMER 2019 The fresh and exhilarating music 31 FRIENDS NEWS Editor Tiana Lyes of Thomas Adès Cover APO Concertmaster Andrew Beer by Adrian 33 CONCERT CALENDAR Malloch Photography Design

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APO Concertmaster Andrew Beer work to the stage. Read more about navigates the haze of tension in Ligeti’s Messiaen’s masterpiece on page 8. Violin Concerto, unless you’re right there In this issue we’re also proudly to witness it? Or how Swedish conductor featuring several contemporary works, Sofi Jeannin expertly balances the including the New Zealand premiere of demands of orchestra, choir and soloists Ligeti’s Violin Concerto (page 11) and a in our Baroque Easter concert? And how brand new work for the Auckland Writers will you feel that sense of curiosity that Festival on page 19. We are under no washes over the audience as they await illusion that contemporary music can Simon O'Neill's voice in a brand new work seem more challenging on paper, but we by Ken Young? There’s a raw power in really do urge you to open your ears to

IMAGE: ADRIAN MALLOCH ADRIAN IMAGE: live music, and it’s our privilege to bring the unfamiliar and explore the music of that experience to you week after week. contemporary and living composers. And This season we have so much to if you don’t know where to start, writer UPFRONT WITH look forward to, and we’ve tried to Alastair McKean explains how he came to highlight as much of it as we can in the grips with Thomas Adès on page 12. Summer issue of Phil News. One of my Of course, we haven't forgotten the BARBARA personal highlights is undoubtedly going enduringly popular works, of which there to be the performance of Messiaen’s are plenty coming up. Ultimately, we just GLASER Turangalîla Symphony for the Auckland want you to come and experience the Arts Festival. Ten movements, 80 minutes, music live. Undoubtedly the easiest and Sometimes, there’s nothing that more than 100 musicians – it’s big, most powerful way to support and reward prepares you for the moment of hearing bold and breathtaking, and for many of adventurous programming is to show up. a piece of music live. our musicians (and concertgoers) it’s a And then tell us what you think! We’d love You can listen to every recording, once-in-a-lifetime event. To assist with to hear from you. share your favourite YouTube clips, pore the enormous orchestral forces required, over programme notes and Wikipedia we’ve joined with the Australian National entries, but will you ever know just how Academy of Music (ANAM) to bring this

80 We understand that music speaks where words fail.

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phil ad landscape a5.indd 1 23/01/2019 10:15:21 AM 4 APO NEWS and memorable opportunitiestoconnectwith theorchestra. throughout the evening, rangingfromluxuryadventures tounique musicians andguests. fromAPO live entertainment thegrandeurof under enjoying wines while Town Hallorgan, fine Opera. Guestswillbeservedasumptuous three-coursemealwith and entertainment. orchestra’s calendar, andpromises aglamorouseveningofmusic coming toAPO’s homeattheAuckland Town Hall. The DeloitteWinter Galareturns inJune,andthisyearit’s and newmusicinanintimateacousticconcertexperience. Skies in2017. The Grapefruit Māori Artist.HereleasedhisacclaimeddebutEP New ZealandMusicAwards, picking uptheinauguralawardforBest been nominatedforaTaite MusicPrize,aSilverScroll,andseveral his 24years. songwriterwithanextraordinary, voicebelyingtalented nostalgic Gardiner-Toi), anartistwhoismakinganameforhimselfas (realnameTeBrewery, returnsforaneveningwithTEEKS Karehana inApril2018, theSessionSeries,presentedbyHallertau LEISURE 28 March atAuckland Town Hall. successful SessionSeries,foraone-offconcertonThursday forits isthelatestartisttojoinAPO Soul singerTEEKS WITH TEEKS SESSION SERIES RETURNS RETURNS SERIES SESSION A silent auction of many covetable itemswill feature A silentauction ofmanycovetable This year, theeventwillfeaturemusicfromPhantomof The annualblack-tie eventon18Juneisahighlightthe toperformaselectionofhiscurrent willjoinTEEKS The APO has In thefewyearssinceheemergedasonetowatch, TEEKS Following onfromasell-outconcertwithKiwimusiccollective Tickets arenowavailabletobookfrom: apo.co.nz/teeks GALA EVENT MOVES TO MOVES TOWNGALA EVENT HALL

information on the APO website. information ontheAPO activities. Keep aneyeoutforticket education, communityandoutreach Connectingprogrammeof the APO and theDeloitteWinter Galasupports IMAGE: ADRIAN MALLOCH to the APO whānau, Maggie! whānau,Maggie! to theAPO family isdoingverywell.Welcome was bornonJanuary8andtheEden family. MaggieAudreyJeanEden welcomed anewbabygirlintotheir Eden andherwifeLiz,whohave for ourprincipalhornplayer, Emma Rae’s achievement. honour andwe’reveryproudof Zealand. Itisarichly deserved AustraliaandnowNew in theUK, years asaprofessionalviolinist, and hasclocked upmorethan50 emerging violinistsovertheyears, andmentoredyoung taught Second Violin in2006.Shehas becoming SectionLeaderEmeritus Second Violin for26yearsbefore 1980 andheldtheroleofPrincipal in founding memberoftheAPO New Year Honours.Raewasa Zealand OrderofMeritinthe2019 was namedaMemberoftheNew violinist RaeCrossley-Croft,who congratulatesour The APO The APO is a charitable organisation, organisation, isacharitable The APO More details andticket bookings: More details MUSICIANS apo.co.nz/deloitte2019 Congratulations are also in order Congratulations are also in order FROM THE THE FROM NEWS NEWS apo.co.nz A SOUND INVESTMENT

IMAGE: ADRIAN MALLOCH by what sort of valve mechanism they use: leading orchestras such as the Berlin piston valves or rotary valves. Stylistically Philharmonic and Vienna Philharmonic. they are quite different, and also feel very APO’s Music Director Giordano different to play. A simple comparison is Bellincampi has requested rotary that a rotary trumpet feels like a sports car trumpets to refine the sound of the and a piston trumpet feels like a truck. orchestra’s brass section and blend with The price of a rotary trumpet is higher the sound of APO’s German trombones. than a mass-produced piston trumpet The Principal Trumpet of the Berlin due to the complexity of construction. Philharmonic has offered to help select SECTION PRINCIPAL TRUMPET HUW Our set will comprise three C trumpets, the particular trumpets for the APO, an DANN PLAYING A ROTARY TRUMPET. an E-flat (alto) and a B-flat, and will cost added assurance for our investment. around $40,000. We have already raised Every year APO works towards $3,500 towards the smallest trumpet – You can help the orchestra achieve purchasing a significant instrument the E-flat. artistic excellence through this purchase. for the orchestra, through the Rotary trumpets, or German trumpets If you are interested in supporting the Instrument Fund. This year our focus as they are often called, are ideal for Instrument Fund this year, please contact is a much-needed upgrade on our set Austro-German Classical and Romantic the Development team: of rotary trumpets. repertoire – from Mozart, Brahms [email protected] There are two distinct types of and Haydn to Bruckner, Beethoven 09 623 5628 trumpets used in orchestral music, defined and Mahler – and are used by world-

EVENING WITH EHNES

James Ehnes has established himself as one of the most celebrated violinists on the international stage today, and APO supporters will have an exclusive opportunity to join James for an intimate evening of music and mingling in May. ‘An Evening with James Ehnes’ A WOMAN’S PLACE will be held at the Kelliher Trust Gallery in Parnell at 6pm on 28 May. Guests will enjoy a short solo recital IN MUSIC from James, followed by an informal chat between James and APO Chief November 2018 marked the 125th pop music industry and the challenges Executive Barbara Glaser. anniversary of women voting for the of being a female conductor in a male- The event includes fine wines first time in New Zealand. To coincide dominated profession. and canapés, and tickets are with this event, APO Connecting Although many gender inequalities $150, with proceeds enabling the hosted an informative panel discussion and challenges for women were orchestra to bring top international to unpack and explore women’s discussed, conductor Tianyi Liu offered soloists to Auckland. Last year the experiences of adversity, discrimination an encouraging and optimistic view: APO’s evening with clarinettist and resilience in the music world. “You don’t want to focus on your Andreas Ottensamer sold out The discussion was chaired by APO's gender or the female tag in front of your quickly, and fans of James Ehnes Chelsea Wong, and panellists included profession. Focus on the work; find the are urged to book tickets early. composer Claire Cowan, Tiny Ruins people who do not see your gender, and singer Hollie Fullbrook, conductor Tianyi they can help you find something special.” Further information and bookings: Lu and APO oboist Camille Wells. The panellists all expressed a hope It focused on the challenges faced for progressing the suffragists’ vision of [email protected] by female composers, the difficulties equality; where creating and advancing a 09 638 6266 ext 234 faced by women securing jobs in the career in music is not influenced by gender. orchestral world, discrimination in the 5 Untitled-3 1 6/12/2018 3:13:01 p.m. apo.co.nz

BBC Studios, Auckland Philharmonia Orchestra & Auckland Live present Planet Earth II Live in Concert 7.30pm, Wed 22 & Thur 23 May ASB Theatre, Aotea Centre

Conductor David Kay Narrator Clarke Gayford

apo.co.nz/planet-earth-live

Planet Earth II is a BBC Studios Natural History Unit production, co-produced with BBC IMAGE: PLANET EARTH II/BBC2016 America, ZDF, Tencent and France Télèvisions.

IN PLANET EARTH II, HATCHLING MARINE IGUANAS – JUST A FEW MINUTES OLD – HUDDLE TOGETHER AS THEY AVOID PREDATORS LIKE GALAPAGOS RACER SNAKES. Redefining nature Audiences can’t seem to get enough of Planet Earth II, and now there’s a new, immersive and live experience coming to Auckland.

When Planet Earth came out over a Concert will be narrated live by broadcast walk by, the camera is triggered to start decade ago, it transformed how viewers personality Clarke Gayford. and films them. The snow leopard is a saw their planet. The first natural history Tickets are selling fast – a second good example of how this has given us series to be filmed in high definition, and final show on 23 May was added a new perspective. On Planet Earth, the it captivated a global audience of over due to popular demand. To find out a snow leopard was filmed on the end of half a billion people by giving them an bit more about the work involved in the a telephoto lens about a kilometre away. unprecedented view of life on earth. creation of the award-winning series, What we’ve done is go back to the same Ten years on, BBC Studios Natural Executive Producer Mike Gunton location, and stake it out with dozens of History Unit revisited this rich subject but answered some questions. these remotely-operated cameras. So with a new perspective. Advances in filming instead of the camera being far away from technology, including camera-stabilisation Why did you choose to make a the animal, it’s now three feet away. Of techniques, drones and high quality remote sequel to Planet Earth? course, you could never do that before, camera-traps, have made it possible for the Mike Gunton: “Planet Earth was made because the animals would never come team to reveal the natural world in entirely over ten years ago and the world has that close to a human being.” new ways. From the highest mountains to changed a lot since then; both in terms the remotest islands and from the richest of the way that we see the world and our Which habitat or sequence are jungles to the harshest deserts, Planet understanding of nature. We wanted to you most proud of? Earth II focuses on the most iconic habitats take a new look at the incredible diversity “The one that sticks in my mind is a on land and seeks to give audiences an of life on our planet and in a slightly sequence from the Islands episode. In experience of what it is like to live in these different way. We wanted to celebrate the Galapagos there are these amazing great wildernesses. but also investigate and show audiences creatures called marine iguanas. They lay Now, Planet Earth II is going across the globe both how our planet their eggs on sand near the coast. We see live in concert, bringing to life all the has changed and how the wonders of these babies hatch out, and the camera breathtaking footage in a spectacular the world still remain.” tracks towards them, and suddenly this event on 22 and 23 May. Accompanying snake comes from under the camera. all the action on the big screen at the What have been some of the And then, a couple of seconds later, ASB Theatre, the 70-strong Auckland significant technical developments another snake. And then another snake, Philharmonia Orchestra will transport used to film Planet Earth II? and another snake and another snake, audiences with a full symphonic treatment “We’ve used remotely-operated and suddenly we’re running with about of the score by Academy Award® winner cameras that we strategically placed in 20 snakes that have been waiting for all Hans Zimmer, and his composers Jacob locations it would be impossible to put a these iguanas to hatch. They come out of Shea and Jasha Klebe from Bleeding cameraman. The animals almost operate the rocks. It’s like something from Indiana Fingers Music. Planet Earth II Live in the cameras themselves! When they Jones. It is truly amazing.” 7 Sonic riches There’s a lot to get your ears around in Messiaen’s Turangalîla Symphony, but seven decades on, it remains a masterpiece of 20th-century music. Tabatha McFadyen unpacks this seminal work.

For a working composer, a commission “outrageous”). It’s important to emphasise, The final piece of the puzzle is the can be a double-edged sword. On one though, that this isn’t the aggressive fiendish piano solo, originally written for hand, having enough money to eat is atonality that tends to turn people off 20th Yvonne Loriod, a genius in her own right always positive. On the other, it means and 21st-century art music. By the same who was Messiaen’s muse and eventually you need to adapt to the needs of the token however, you’d be hard-pressed to his wife. For all its colossal excess, this people who are paying you. Questions label it conservative. “As far as European is the crux of the matter: Turangalîla is a of length, instrumentation and music is concerned,” Abbott explains, love song. deadlines, become the territory of your “it almost comes from nowhere.” When Loriod and Messiaen met, it employer, rather than being determined Messiaen’s totally unique musical was love at first sight, but Messiaen was entirely by your own artistic vision. language creates a piece that manages to already married. His devout Roman- What happens when you take all of be sensuous, tender, frenzied, aggressive, Catholicism meant that he would not that away? Well, who knows, but you and seductive all at once. It contains divorce his wife, and adultery was out might end up with a ten movement, some of the loudest noises you will of the question. It’s the opinion of many 80-minute-long extravaganza that calls ever hear, that somehow transform into that Turangalîla became the vessel into for more than 100 players. That’s what moments so delicate that you’re afraid to which Messiaen poured all the passion, befell Serge Koussevitzky and the Boston breathe lest you disturb them. frustration, idealism and tenderness of Symphony Orchestra in 1946 when this all-consuming but unconsummated they commissioned Olivier Messiaen, a love. (Incidentally, they met in 1943. They French composer more or less unknown weren’t married until 1961.) in the United States, and gave him The use of such unabashedly complete carte blanche. (Whether that’s I think that being romantic subject matter seems in one a cautionary or an inspirational tale is way surprising, seeing as he was writing a judgement I’ll leave up to the arts reminded of joy this piece in the immediate aftermath of administrators of the world.) is something that World War II, only a few years after he Turangalîla Symphony now universally considered a masterpiece, but those happens precious had been released from a concentration intimidating details mean that live camp himself. But instead of that performances of it are few and far between. little these days…. horrific experience infusing his music Therefore, seeing as the APO’s upcoming with hopelessness or cynicism, he went performance of it is essentially a once-in- entirely the other way. Turangalîla became a-lifetime opportunity, it makes sense to not just a love letter to Loriod, but to our ensure that it’s as deep an experience as Much of this comes from Messiaen’s common humanity. possible. That’s where Graham Abbott otherworldly capacity to create colour Which is exactly what Abbott believes comes in. Before the performance of through sound. It stands to reason; the we need now, maybe even more than ever. the full work (to be conducted by British composer was synaesthetic, meaning “There’s so much in the world that can conductor Stefan Asbury) Abbott, an that his senses merged together and create despair. Personally, I can’t bring Australian conductor and music educator for him, sound literally was colour. It’s as myself to watch the news on TV anymore (and presenter of APO’s Unwrap the though the instruments of the orchestra because I just know I’ll end up either feeling Music series) will spend some time giving are paints on a palette, and his endless depressed, drinking too much, screaming the audience an interactive introduction imagination means they can be mixed in at the television, or all of the above. alongside the orchestra. an infinite number of ways. “I think that being reminded of joy is “What I’ll be trying to do is to give He also made sure that palette was something that happens precious little some signposts… so when the audience well-stocked. His ideal orchestra for these days…and this more universal, then experiences the whole 75 or 80 Turangalîla includes 68 string players, wind communal feeling of joy? That’s very minutes of this thing, it won’t all be totally and brass sections bursting at the seams, rare. To experience a work like this as new. I don’t want it to be an alienating and up to 11 percussionists. Then comes a communal experience, I think could experience... I’d like it to be like a the addition of an Ondes Martenot, which, actually send people out of the room rollercoaster: it’s fun but also scary and to quote Abbott, “puts the whole thing on feeling happier, feeling unbelievably terrifying and you’re exhausted and your drugs”. A beguiling singer at one moment uplifted and unbelievably excited.” He pulse is racing at the end of it.” and a terrifying wail the next, this electronic interrupts himself with a chuckle. “Even If you think that sounds intense, instrument adds a dimension that takes if they do feel like they’ve been boxed you’re right. (Abbott’s word of choice was things to a whole other world. about the ears a little bit.” 8 apo.co.nz

ONDES MARTENOT – A BEGINNER’S GUIDE

WHAT An electronic instrument that creates sound through the manipulation of the relationship between two supersonic sound-wave frequencies, first demonstrated by the inventor Maurice Martenot in 1928. WHY Martenot worked as a radio operator during WWI, and had the idea that the noises created by the overlaps he heard as he scanned frequencies had musical possibilities. Originally a cellist, he sought to create an instrument that gave these sounds expressive, lyrical potential.

Like a string player, one hand is responsible for the differentiation between notes, the other for the sound. The ‘notes’ hand, in this Messiaen’s case the right, can use two separate Turangalîla mechanisms. The keyboard can be Presented by APO and Auckland used just like any other, or the player Arts Festival in collaboration with can attach a metal ring to their the Australian National Academy finger which runs along a ribbon in of Music (ANAM) front of the keyboard. The left-hand 7pm, Sat 23 March operates switches controlling sound- Auckland Town Hall wave forms (tone colour), controls for the three separate speakers that Conductor Stefan Asbury convert the frequencies into sound, Piano Joanna MacGregor and the all-important pressure Ondes Martenot Cynthia Millar button which determines the volume Messiaen Turangalîla Symphony and articulation of a note. apo.co.nz/turangalila IMAGE: ADRIAN SHERRATT/ALAMY PHOTO ADRIAN STOCK IMAGE: 9 EXPERIENCE LUXURY WITH CRYSTAL

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02-598 Phil News FP Jan19v3.indd 1 30/11/18 4:25 pm apo.co.nz

Soloist on a high-wire APO Concertmaster Andrew Beer is preparing to perform the dazzling musical acrobatics required for Ligeti’s Violin Concerto. He talks to Phil News editor Tiana Lyes about what the audience can expect. IMAGE: ADRIAN MALLOCH ADRIAN IMAGE:

At the first rehearsal of the recording affinity with Ligeti. “People tell me that I’m of composer György Ligeti’s Violin an intense violinist and musician, and Ligeti Concerto in 1993 there’s a delightful is super intense. His music is as emotionally exchange (captured in documentary The virtuoso charged as Tchaikovsky,” he says. In fact, footage) where Ligeti leans in and the link to Tchaikovsky in this concert tells conductor Pierre Boulez that he doesn't end there, with the composer's probably wouldn’t like what he was element is 'Pathétique' Symphony No.6 also in the about to hear, because “it has tunes”. programme, and Russian conductor Mikhail And, yes, for all its rhythmic Tatarnikov (a protégé of Valery Gergiev, one complexities and interesting textures, unbelievably of the foremost conductors of Tchaikovsky) Ligeti’s Violin Concerto has plenty of tunes. leading the orchestra. “Even though the music doesn’t crazy. Over the summer, Beer has been immediately suggest ‘ok, this is G Major, coming to grips with the score, picking this is a melody I can latch onto’, there it apart and slowly piecing it all back are a lot of things that the audience can together. “I’ll pick all the hardest parts, appreciate,” says APO Concertmaster start off very slow, getting the bones and Andrew Beer, who is also the soloist for challenges too; for example, random accent the fingerings under control, and then this performance, which will be the New hits in unison with percussion. Fortunately, with the metronome I’ll slowly build it up. Zealand premiere of the concerto. APO principal percussionist Eric Renick There’s no way you could ever sight read Throughout his violin concerto, Ligeti has played the piece before, affording a that music,” he adds. often employs folklorist, vocal melodic helpful advantage. It sounds like a lot of work, but Beer elements, and is frequently tonal. Beer Often musicians are also counting is unfazed. “I’m feeling excited. And the suggests listening out for Hungarian in different metres – for example, one audience should be, too!" folk tunes, Bulgarian dance rhythms and person counting 4/4 and another in 3/4 – gamelan music of Southeast Asia. and yet it somehow all fits together, Beer But Ligeti won’t simply let you rest on says. There’s are moments of lyricism and melodic lines – there’s a lot more going calmness, and moments of mad delirium. The New Zealand Herald on in this wild collage of atmospheres But above all, it’s exciting, he says. Premier Series and colours, Beer explains. So why did Beer propose this piece? “The virtuoso element is unbelievably “I told Ronan [Tighe, APO Director Pathétique crazy,” he says, and that’s not only for the of Artistic Planning] I really wanted to 8pm, Thur 27 June soloist. The small chamber-sized orchestra perform the Ligeti – in my opinion, the Auckland Town Hall includes wind players doubling on ocarinas greatest violin concerto written in the last and recorders. Even the orchestra’s tuning 50 years – and he went for it, which I was Conductor Mikhail Tatarnikov has a stringency, with a violin and viola really pleased about,” Beer says. “I guess Violin Andrew Beer player adopting scordatura – altering the it’s the uniqueness of it; there really is Khachaturian Adagio from Gayane tuning of their instruments slightly, so they nothing else that sounds like Ligeti. And Suite No.1 will be playing in tune with themselves but perhaps the challenge; it might be the Ligeti Violin Concerto completely apart from everyone else. hardest thing I’ve ever played.” Tchaikovsky Symphony No.6 ‘Pathétique’ And while Beer is tackling an Beer says the high stakes are a good extraordinarily virtuosic solo part, he’ll thing. “It wakes me up, it gives me the apo.co.nz/pathetique also need to pay close attention to the adrenaline I need to play it,” he laughs. percussionists as it's a piece full of rhythmic He also admits to having a personal 11 The New Zealand Herald Premier Series Fantasy 8pm, Thur 14 February Auckland Town Hall

Conductor Giordano Bellincampi Violin Anthony Marwood Wagner Die Mestersinger: Overture Thomas Adès Violin Concerto ‘Concentric Paths’ Berlioz Symphonie fantastique

apo.co.nz/fantasy

IMAGE: BRIAN VOCE 12 apo.co.nz

Rich and strange Alastair McKean recalls the first time he encountered the music of Thomas Adès, and urges others to open their ears to the unfamiliar.

One lovely spring afternoon about decorously be described in a family twenties style, albeit one “in which the 20 years ago, I was working in my publication. Scored for four singers and harmony behaves according to my rules, room in the inner-city terrace I shared a tiny orchestra, it has all the exuberance so it’s slightly off”. He was justifiably with a couple of friends. My flatmate and diamond hardness of the 1990s very chuffed when his grandmother was playing something on the stereo London when it was written. said “It was exactly like the kind of downstairs. I couldn’t hear it terribly In 2012 Adès published a book of music we used to have in those days clearly, and, absorbed in whatever it conversations with the writer Tom Service at the Waldorf.” And the glorious slow was I was doing, wasn’t really listening (Full of Noises, just out in paperback). movement in Arcadiana is pure Adès – anyway. But the music had other ideas. He’s very aware of how his brain works, but also quintessential Elgar. It was unfamiliar, and curious, and which is fascinating. “I can hear a single If you’re curious, what to hear? Try the slowly commanded more attention, and note and feel all the directions it wants to piano concerto In Seven Days. It’s about eventually I gave up the struggle and move in,” he says. “If I put a note under the the Creation myth, and although the just listened, spellbound, straining to microscope I feel I can see millions, trillions piece stands alone perfectly well, it was hear what would happen next. Then I of things.” His views on other composers written for performance with visuals. Adès realised I could hear it better if I went are thought-provoking and often trenchant calls it a “video ballet”. The recording downstairs, which I did, saying “Paul, (“the moment [Brahms] forces himself (on Signum) comes with a DVD. Watch what the hell is that music?” to put on a black tie and write a concert it: you’ll never again look at light playing It was a string quartet called Arcadiana symphony, to me it just stinks of fake, on water in the same way. Then I’d go to by a young British composer called phoniness... [the finale of the Fourth Asyla, a symphony in all but name, whose Thomas Adès (pron. add-ezz). I’d vaguely Symphony is] a terrible waste of space.”). large orchestra includes the shimmery- heard of him but didn’t know his work, watery sound of a detuned piano. The first although in my defence this was only his movement is haunted by the horns, calling second CD, and Paul must have had one across the ruins of Romantic music; of the first copies in the country. After that, the tour de force third movement is an though, I was hooked. Even now, it’s that electrifying collision between The Rite of utter unfamiliarity which I love about Adès’ I can hear a Spring and clubland techno music. The music. Actually, ‘unfamiliarity’ isn’t quite Tempest is on a Metropolitan Opera DVD. right. ‘Rich and strange’ might be better, to single note Ariel’s music is breathtaking, and the quote his opera on The Tempest. It quietly conclusion, with Caliban and Ariel alone reveals a different universe, of whose on the island, is magic. existence one had no idea. His huge and feel all And, of course, the Violin Concerto. orchestral piece Tevot is a good example. The soloist glitters and sparkles, but It starts bright and clear, as distant as suddenly one realises there are cracks the stars: then the bottom drops out, as the directions in this brilliant surface, through which the brass and low strings softly sing vast flickers something deeper. This darkness sounds of limitless space. it wants to is to the fore in the desperate, heartfelt I don’t want to give the impression, slow movement. The last movement has though, that his music is somehow the dazzle of the first, but is calmer, as if mystical. His first opera, Powder Her move in the soloist’s personality has shifted after Face, is anything but. It’s a cracker, loosely great suffering. The recording, alas, is out based on the scandalous life of the of print, but you’re in luck: its dedicatee, Duchess of Argyll. Readers of a certain the stupendous violinist Anthony age may recall the notorious Polaroids All this is based, however, in the practical Marwood, will be playing with the APO. of the real-life Duchess’s extracurricular mindset of a working musician, for Adès Those yet to hear Adès have activities, and the scene in the opera is a superb pianist and a fine conductor. excitement in store. Every time I hear a which includes her humming aria cannot I think that’s why he’s one of those rare new piece of Adès, I still get a “What the composers who can write pastiche while hell is that?” moment. That shock of the retaining his individuality. For Powder fresh is exhilarating. Even more exciting COMPOSER, CONDUCTOR Her Face Adès wrote a song in “an is the knowledge that, as Adès is not yet AND PIANIST THOMAS ADÈS absolutely straight-as-I-could-manage” fifty, there’s more to come. 13 Leave your mark in the music

You can help shape the future of the APO by leaving a gift in your will to the Auckland Philharmonia Foundation. The Foundation is growing its endowment fund to help secure the APO’s long-term future and growth. Leaving a gift is one of the most enduring ways you can help your orchestra. Every gift, no matter the size, makes a difference. So once you have made provision for your loved ones, please consider leaving a gift in your will so the APO can thrive in years to come.

To fi nd out more, please contact Adele Diviney, Development Manager opnapo.co.nz

Or visit the APO website apo.co.nzp

Charitable trust No. CC23607 apo.co.nz Bach and Beyond

In April, orchestra, choir, and soloists come together for a unique interpretation of the Easter story. Amber Read talks to conductor Sofi Jeannin about the challenges of bringing it all together. IMAGE: CHRISTOPHE ABRAMOWITZ CHRISTOPHE IMAGE:

SWEDISH CHORAL CONDUCTOR SOFI JEANNIN JOINS THE APO IN APRIL.

When Swedish conductor Sofi Jeannin parts of the text to draw out the meaning For Jeannin, her instinct with Bach is to visits Auckland for the first time in and interpretation. “The music that the bring out the dance rhythms that underpin April, she’ll be managing the demands singers interpret will be carried by a text,” so much of the Baroque style. Folk music of orchestra, choir and soloists she says, “and it is my job to convey that and dancing are hugely important in her simultaneously. The key, she says, is in the way that I wish.” native Sweden: “For me I've always felt to bring everyone together and put all The location of sound in space is very close to the Baroque repertoire pieces of the puzzle in context; that is, also an important consideration for a because of this.” Jeannin aims to draw out to make the musicians aware of what’s programme with such varied components. what she describes as the rhythmic and happening in the text, and the singers “The amazing thing about doing acoustic harmonic quirkiness of Bach. “It’s just so aware of what’s happening with the music is that it makes you think about much fun to rehearse and perform Bach orchestral colours. music in a sort of three-dimensional and this should be felt by the audience,” “I try to bring everybody together to way,” she says. “We of course always she says. “This music is just divine.” see things in the appropriate dimension,” want to have the best balance possible she says. “You make the time useful, but but sometimes you can actually use the Templar Great Classics in a way that everybody feels that he or space for a certain effect.” she is important. Jeannin’s April concert with the A Baroque Easter “I've always approached choral APO and Voices New Zealand follows 7.30pm, Thur 18 April conducting the same way as instrumental the path of the Easter Passion story, conducting,” says Jeannin. “I think the but through the lenses of multiple Auckland Town Hall base of the technique should remain works. “It’s quite interesting to be able Conductor Sofi Jeannin the same… [although] I would move my to kaleidoscope these pieces," says Soprano Anna Leese hands differently to obtain a certain sound Jeannin. The narrative programme she’s Mezzo-soprano Sally-Anne Russell and this would be adapted to the voice or constructed follows the betrayal of Christ Tenor Henry Choo the violin or to the brass.” in the St Matthew Passion through to the Bass-baritone James Ioelu The principal differences, she says, resurrection in Handel’s Messiah, with Voices New Zealand Chamber Choir are more in the practicalities and logistics. excerpts from the St John Passion and Director Karen Grylls Choral groups tend to rehearse over a other Bach works too. Arias and choruses from: longer a stretch of time, a week or even “It took me quite a few years before Handel Messiah two, compared to an orchestra which I dared to conduct any Bach,” Jeannin J.S. Bach Easter Oratorio might rehearse a programme for four confesses. It’s an intimidating paradox, J.S. Bach St John Passion days. “You can’t really do six-hour days she says. “You feel that there is a trend J.S. Bach St Matthew Passion with the voice,” she says, “so you do build of people wanting the music to be J.S. Bach Mass in B minor your rehearsal differently.” performed in a certain way and at the Another big difference is that vocal same time you feel that you need to carry apo.co.nz/baroque-easter music has text and Jeannin will work with this music and use your instinct. That also the singers to colour or stress different gives very interesting results.” 15 Antihero for the ages A powerful man leaving a trail of misconduct and assault: sound familiar? Frances Moore explores Don Giovanni’s continued relevance in 2019.

IMAGE: STEPHANIE DO ROZARIO

He might be over 200 years old, but and alienated nobleman, craven and dramatic D minor chords which open Mozart’s Don Giovanni can still cause neurotic, or even a sexually repressed, the opera are viscerally thrilling and from a stir. misogynist homosexual whose desires this very moment on the opera has an In September 2018, Opera emerge as a rage towards all women. unstoppable momentum. The score is Queensland put out a casting call for With the Don, it seems, anything goes. rich with chromaticisms, driving our ears 200 women to appear naked on stage The impact of this opera and what it subconsciously forward, craving harmonic in their production of Don Giovanni. all means have also extended well beyond resolutions that often never arrive. Director Lindy Hume’s vision was for the opera community. Goethe, who The very nature of Don Giovanni’s these women - representing the Don’s considered the work to be the result of own musical material leans into this thousands of conquests - to pull him divine inspiration, dismissed any criticism interpretation of the aesthetic power of down to hell. (Hume herself offered to of the work, writing emphatically “It is music. It continues to intrigue critics and join the women and get naked too). It’s a spiritual creation, the detail, like the academics alike that as a character, he always a good idea to avoid reading whole, made by one mind in one mould, has no self-reflective arias. Instead, the the comments section on any article, and shot through with the breath of life”. Don is the ultimate mimic, able to adjust but responses to the story ranged E.T.A Hoffmann famously declared Don his musical style and expression to his from accusations of grasping towards Giovanni to be “the opera of all operas”, musical (and romantic) partners. relevance, to unnecessary lewdness while Kierkegaard’s treatise on human and complaints that such a decision had existence Either/Or holds up the work as a nothing to do with librettist Lorenzo Da supreme example of the conflict between Ponte and Mozart’s work. the ethical and the aesthetic. The rub in Sure. But it is hard to deny that Don Giovanni, as Kierkegaard argues, Don Giovanni has always been a work lies in the title character’s confluence It is a spiritual that proves irresistible to directorial with music. Don Giovanni operates like interpretation. A cornerstone of the music itself and it is this that makes him creation, the detail, canon since its first performance in 1787, the ultimate seducer – manipulating our productions have seemingly been staged feelings, demanding our adoration or at like the whole, in every conceivable way, from its original least our attention and invading our bodies made by one mind 18th-century setting to 1980s Spanish in ways that are often quite irresistible. Harlem to Calixo Bieito’s brutally violent While we may find the actions within in one mould, and staging in contemporary Barcelona. the opera reprehensible (murder, possible shot through with Similarly, the character of Don rape, the unapologetic and rampant Giovanni has been variously interpreted as womanising), these ethical dilemmas the breath of life an audacious and irrepressible seducer, sit uncomfortably in opposition to the complete with feathered hat, to a brooding aesthetic experience. The gloriously 16 apo.co.nz

OPERA QUEENSLAND'S RECENT PRODUCTION OF DON GIOVANNI The opera PRESENTED A PROVOCATIVE INTERPRETATION IN THE #METOO ERA. of all operas

His duet with the comic yet canny Zerlina, approaches to productions of the opera The Trusts Community Foundation ‘Là ci darem la mano’, is rustic in its and our continued fascination with it. Opera in Concert simplicity. When Zerlina echoes back the Don Giovanni is unknowable, Presented by Auckland Philharmonia phrases of the Don, it creates music that mysterious and utterly fascinating, Orchestra in association with is pretty yet entirely uncomplicated as so why not have a Don Giovanni for New Zealand Opera her would-be seducer is clearly taking the #metoo era, complete with two on Zerlina’s own low social standing. In hundred naked women? Surely the Mozart’s the Act 2 trio between Don Giovanni, particular genius of this opera lies in its Don Giovanni Leporello and Donna Elvira, he mirrors continued relevance. This is no simple 7.30pm, Fri 19 July Elvira’s more refined melodic phrases to contest between good and evil but reassure her, and even when one might rather, something more complex and Auckland Town Hall expect the Don to be most himself – in just as capable of reflecting the Harvey Conductor Giordano Bellincampi the scenes between himself and his Weinsteins of our era as the violent Don Giovanni Audun Iversen servant Leporello – he again adopts excesses of late 18th-century Europe. Donna Elvira Heidi Stober Leporello’s patter style. While there won’t be 200 naked women Donna Anna Ekaterina Siurina It is in this mimicry of musical styles at The Trusts Community Foundation Zerlina Natasha Wilson that Don Giovanni succeeds in being Opera in Concert performance, this a master seducer; he can adjust and performance will once again allow us to apo.co.nz/don-giovanni change to any situation. It is this same confront the unknowable Don Giovanni blankness – this capacity for mutation – while revelling in his stupendous, that perhaps also accounts for the varied unearthly D minor chords. See you there.

EVERYWHERE

/posterpoem

@0800phantom

www.0800phantom.co.nz Chauffeur to the stars Former Marketing Manager of the APO, Tony Waring, has created a new role for himself as chauffeur to our guest artists.

TONY WARING (R) AND JAYSON GILLHAM

“First impressions are important, and Tony’s first job for the APO was when an APO guest is weary from something of a baptism of fire – looking travelling halfway across the world, it after Anna Netrebko and Yusif Eyvazov is nice for them to be met by someone and their entourage last October. “I Cellos ride who has an appreciation of what they drove Anna and Yusif, and brought in a are here for, and who conveys them in Mercedes minibus and trailer to help me luxury to APO sponsor SkyCity Grand with the other eleven people. Even with across the Hotel," says APO Artistic Coordinator, that capacity, we only just got all the diva’s Debbie Nicholson, who makes all the luggage in! The next day I took them out to travel arrangements for our artists. Karekare beach and the falls, where they back seats, Tony was APO Marketing Manager enjoyed getting the sea air into their lungs, for five years in the late 1990s and went and admiring the scenery.” with safety into business last year as a freelance The luggage needs of our artists varies chauffeur, driving BMW’s top of the greatly, and Tony responds accordingly. range 730L. He carries business people “Cellos ride across the back seats, with belts on. and tourists between the city and airport, safety belts on. And then there was Jean- and on specialist tours around the city Efflam Bavouzet who arrived with next and upper North Island. to nothing, as his suitcase had not made “It’s my semi-retirement job, and I it on to the plane. He was completely or the venue. Or I just shut up and drive if am loving it,” says Tony. “Driving for unfazed, and his usual cheerful self.” I see they are nodding off!” the APO is a great combination of my “Sharing the car with the artists is a Tony says that although the experience with the orchestra, and the privileged position, and I respect that by organisation may have grown since his many years I spent prior to that in the following their lead as to whether they time in the administration team, there is hotel business. It is great to be back want to have much of a conversation. still the same Kiwi attitude of everyone involved, and to sit in the audience and For first time visitors, I enjoy telling helping out where they can. “I can feel good about having played a role them about the city, and answering any remember driving Nigel Kennedy in the behind the scenes.” questions they have about the orchestra orchestra van! We’ve come a long way!” 18 apo.co.nz The nature of love Man, Sitting in a Garden is a new work that explores themes of love and grief, and will be presented at this year’s Auckland Writers Festival, featuring soloist Simon O'Neill. Composer Ken Young talks to Phil News about the origins of the work, and his collaboration with award-winning writer Witi Ihimaera.

with what he does as opposed to what he is. Existential angst was never going to be an easy subject to provide a narrative for, but Witi has achieved it brilliantly. Existential angst was never going What has the process been like? Has it been quite collaborative, or to be an easy does your work simply follow the subject to provide completion of the libretto? Once Witi had completed the libretto we a narrative for, but discussed certain small modifications that I might contemplate along the way – the Witi has achieved odd word or phrase here and there – it brilliantly. and then I simply began writing. I have changed very little.

Has Simon O’Neill always been the person you had in mind for soloist? Does your experience as a How has he influenced the work? conductor shape the way you

IMAGE: TONY WHITEHEAD/WILDLIGHT PHOTOGRAPHY TONY IMAGE: Simon was always the vocalist I had in approach a new composition at all? TENOR SIMON O'NEILL IS mind; he has such a broad expression My experience as a conductor, and THE FEATURED SOLOIST FOR and colour. I was also aware that he previously as an orchestral musician, has MAN, SITTING IN A GARDEN. has a secure and rich lower register. always informed my writing with regard to Added to that was the fact that before orchestration; not so much the structure Where did the idea for this work beginning the work I had produced of my work. I sat in an orchestra for 25 a recording of lieder with Simon years and consequently learnt much come from, and how did Witi which gave me an even more intimate Ihimaera come to be involved? about how all the instruments work, blend awareness of his capabilities. and colour each other. As a conductor I have been wanting to write a work about you are constantly studying the scores of a man reflecting on his life for some time. Where does this piece fit within others, and so the education continues. I discussed the idea with (APO Director your oeuvre? Musically, is it of Artistic Planning) Ronan Tighe who quite a departure from some of liked the idea very much, especially when your other works our audiences he learnt that the vocalist I had in mind would have heard? was Simon O’Neill, who is a long-time Man, Sitting in friend and colleague of mine. I then It is not a stylistic departure for me. approached Witi Ihimaera to write the However, the range of moods from a Garden libretto for me. His enthusiasm for the brooding to playful, to tragic has allowed Presented in association with the project was immediate and so Ronan me embrace a broad range of expression. Auckland Writers Festival Much of the writing has a chamber quality duly commissioned the work. 6pm, Wed 15 May to it and yet there are also a couple of What drew you to this rather massive climaxes as well. Auckland Town Hall subject matter? Conductor Tecwyn Evans I always had in mind the nature of faith. I Tenor Simon O’Neill am not a religious person in the traditional Libretto Witi Ihimaera sense of the word, however, over the Music Kenneth Young years, I have developed a sense of spirituality which serves me and makes apo.co.nz/man-in-garden sense to me; I certainly would never seek to impose it on anyone else, all of which would make a pretty boring opera. Witi and I had a number of long conversations IMAGE: ANDI CROWN about how to incorporate man’s struggle KEN YOUNG (L) AND WITI IHIMAERA 19 DEVELOPMENT NEWS

a congressman – but soon decided politics wasn’t for her, and moved to New York, where she spent a year working on Wall St. “Finance wasn’t my calling either. Luckily, I was offered a job at the Corcoran Gallery of Art in Washington Gala Tours DC doing special events. And that was it, I realised that my career needed to in 2019 follow my passion for arts and culture. The environment was right and I believed wholeheartedly in the mission.” At the Corcoran, Susan managed APO is expanding its successful events from Presidential Inaugural balls Gala Arts Tour offering to to art exhibition openings, as well as a include trips to Melbourne and popular chamber music recital series Christchurch in 2019. Our tours featuring the Tokyo String Quartet, who are an opportunity for APO had on long term loan a set of Stradivarius supporters to come together and instruments from the gallery’s collection. enjoy a range of performing and Shortly after completing her visual arts offerings over several Master’s degree in Arts Administration days. Each tour is curated to at Columbia University, Susan landed a ensure that attendees can job in New York with the Bard Graduate access some exclusive events From Center (BGC), a graduate research and performances, as well as institute and gallery, working as Director money-can’t-buy opportunities. of Development. “It was incredibly NY to fulfilling to be an integral part of growing Melbourne Gala the BGC from early founding to an internationally-recognised centre for Tour 2019 graduate study, museum exhibitions and SPRING 2019 NZ scholarly catalogues,” she says. When she finally stepped down from Experience an exhilarating array INTRODUCING the BGC after 16 years, she did so to of all the culture Melbourne has THE ORCHESTRA’S find something closer to her home and to offer, including the Melbourne GLOBE-TROTTING family, which was now outside Manhattan Symphony Orchestra, Opera NEW DIRECTOR in the arts-oriented suburb of Montclair, Australia and the Australian Ballet, OF DEVELOPMENT, New Jersey. She became the Director of and enjoy luxury accommodation SUSAN WALL. Development for the Montclair Art Museum. at a five-star hotel. Here she designed and implemented fundraising strategies that raised nearly $3 million annually. The Museum had Yo-Yo Ma in reached a high level of exhibition and Christchurch Home, for APO’s new Director of curatorial excellence, so the emphasis MON 11 NOVEMBER – Development Susan Wall, is in was on arts education, to bring art into WED 13 NOVEMBER 2019 Bayswater, where her children can the lives of everyone from pre-schoolers throw their paddleboards and kayaks to centenarians. “While fundraising is Note – this tour is an add-on for in the water near their house, and run challenging, when you are asking for money concert ticketholders only. barefoot in summer like other Kiwi for programmes that change people’s lives, Legendary musician Yo-Yo Ma kids. But ‘home’ – in the abstract – is it’s easy to get behind it,” says Susan. makes his New Zealand debut a slightly more convoluted answer. Susan laughs when asked if the timing in November. If you already Originally from the United States, of emigrating from the United States had have tickets to this concert, join Susan and her family emigrated from anything to do with the incoming US our Gala Tour trip and make an New York City to New Zealand almost administration. “Entirely coincidental,” she occasion of it. Our itinerary will two years ago, a decision she says was says. “But perhaps fortuitous!” include a special behind-the- easy, thanks to her nomadic childhood. Now, Susan says she feels like scenes tour and a gala dinner. “My father was in the American army, Auckland is becoming home, and she is so I grew up moving around a lot,” Susan embracing her new role at the APO. “I’m For further information on itinerary says. “We lived in Germany twice, Korea, impressed with the strong organisation and costs, please contact: Hawaii, and up and down the east coast as well as the vision and commitment to and in the Midwest of the US,” she adds. bringing music to all of Auckland. And [email protected] “So I don’t really have a home base, the orchestra is wonderful; to sit in the other than as an adult.” Town Hall on Thursday nights and let the Fresh out of university, Susan spent music wash over and inspire you, is just a year working in Washington DC for such a privilege.” 20 apo.co.nz CONNECTING NEWS

Symphonic Storytime TIMELESS CLASSICS RECEIVE THE ORCHESTRAL TREATMENT AT APO 4 KIDS

AUTHORS MARGARET MAHY (LEFT) AND JOY COWLEY

New Zealand’s much-loved children’s her words skip in such immaculately The new works will be performed authors, Margaret Mahy and Joy patterned metres it is difficult to believe and narrated for the first time by the Cowley, are being celebrated by the they were not written with singing in mind. APO. “I’m thrilled that the Auckland APO in 2019. They are lyrics, not just poems,” he says. Philharmonia Orchestra wants to do Margaret Mahy’s estate, and Joy “This, doubtless, is as much due to Snake and Lizard,” Cowley says. “Yes, Cowley, have both generously given the her virtuosic writing technique as to her yes, yes. What a lovely idea!” taonga of their texts to be performed by zest for declaiming verse. Margaret wrote the full orchestra, as part of APO 4 Kids: as much for the joy of hearing the sound Storytime concerts. as for how the words looked on the page.” Several years ago, Mahy worked with A Lion in the Meadow was Mahy’s first Christchurch-based composer, Philip work to be turned into a book and was the APO 4 Kids: Norman, to reimagine her book A Lion in start of her illustrious career in publishing. the Meadow into a fully orchestrated and 2019 celebrates 50 years since it was Storytime narrated work. It was first performed by the first published, and will be commemorated 10am & 11.30am, Sat 30 March Christchurch Symphony Orchestra in 2009 with an anniversary re-release of the Auckland Town Hall as a tribute to the author, and now children book. The APO’s concert starts a year in Auckland will have an opportunity to of nationwide celebrations including big 10am & 11.30am, Sat 6 April experience Mahy’s imaginative storytelling reads, illustrator competitions and more. Bruce Mason Centre in this enchanting new way. The APO has also commissioned Norman says Margaret Mahy was one Norman to team up with Joy Cowley to Conductor David Kay of the best lyric writers of her generation. translate some of her famous stories from Presenter Kevin Keys Snake and Lizard “Margaret is so easy to set to music,” the series. The texts apo.co.nz/apo4kids-storytime he says. “Often, one reading of a poem are warm and funny stories of two very is enough for a musical idea to suggest different creatures, learning about the itself. For a self-professed ‘terrible singer’ give and take of friendship.

APO Connecting’s popular and tuition and composition workshop options. long-running schools partnership This year, 60 schools, three community programme, APOPS, is introducing orchestras and one specialist music school New APOPS a new type of membership in 2019, have signed up to this unique offering. designed to offer schools more And to encourage more schools to take offering flexibility with their curriculum needs. advantage of the programme’s benefits, For 15 years, APOPS has engaged APO Connecting has now introduced a If you know of a school that would be with school students and teaching ‘Preludes’ membership level, which focuses interested in the APOPS programme, staff to enhance existing school music on ensemble performances and visits to or you would like to support a school curriculum requirements, or introduce the orchestra. The entry-level membership to be part of the APOPS programme, music education to schools where it package includes one ensemble visit please find more information/contact: would otherwise not be available. This is at a member school and tickets to see apo.co.nz/apops achieved through ensemble performances APO’s primary and intermediate education and mentoring from APO musicians and concert, Kiwi Kapers. [email protected] ensembles, as well as general music 21 SKYA11693 Hotels Ad_ Phil News_A4_Conductor_1.1ƒ.indd 1 30/11/18 12:02 PM apo.co.nz My Great Listen Elise McCann AWARD-WINNING SINGER AND ACTRESS ELISE MCCANN JOINS THE APO IN MAY TO PRESENT DAHLESQUE, A CONCERT FEATURING MUSIC FROM ADAPTATIONS OF ROALD DAHL’S CLASSIC STORIES. ELISE SELECTS THREE PIECES OF MUSIC THAT HAVE INFLUENCED HER.

Bayleys Presents Dahlesque 11am & 2pm, Sat 11 May Auckland Town Hall

Conductor David Kay Featuring Elise McCann Musical arrangements and direction Stephen Amos

apo.co.nz/dahlesque

STEPHEN SONDHEIM ‘Not a Day Goes By’ from WHITNEY HOUSTON BIZET Merrily We Roll Along ‘Saving All My Love ‘Habanera’ from Choosing a favourite music theatre piece is essentially a ‘Sophie's Choice’ task for For You’ Carmen me, but there is one composer that comes Whilst it is likely not the number one ‘Habanera’ was the first operatic aria I up time and again, and that is Stephen pick of Whitney’s incredible catalogue ever sang. I attempted it at the super- Sondheim. In particular his song, ‘Not a for most, 'Saving All My Love for You' is ambitious age of 17 for my year 12 Day Goes By’. This song is seemingly high on my list. Anyone that has worked HSC music exams and whilst I am simple and repetitive but it is deceptively with me knows that I warm up to Whitney certain I didn't do it any justice, it has powerful and so full of depth. I will never daily, and always start with this track. I been a hugely influential piece ever forget watching a YouTube video of discovered Whitney in my primary school since. I am moved by music that tells Bernadette Peters singing this song when years at a girlfriend’s house when we a story and enhances and progresses I was a little girl and from that moment, surreptitiously watched The Bodyguard, its characters, and ‘Habanera’ does both she and Sondheim became music despite being far too young. I was blown just that. It is essentially based on a theatre idols of mine. For me, it is such a away by this beautiful, graceful, supremely descending chromatic scale, but what perfectly simple and honest moment of talented woman. She made me realise you actually hear is this drama and loss – be it a friendship, a love or whoever. the endless possibilities to cross genres tension; this sensual and fiery, strong It is almost a sung monologue. And that’s and styles and to foster your own sound. woman. Within moments of hearing what I love about Peters and Sondheim Whitney has this incredible gospel depth its opening you get an idea and feel – it’s not enough to sing it well, you have and heart, whilst simultaneously being for who Carmen is. It was my first real to be a good actor to really communicate pop, and RnB, and a storyteller. She had introduction to opera. A few years his music. Sondheim is so influential a phenomenal range, impeccable dexterity later I was travelling through Europe and important to me because he always and style, she was vulnerable and strong and finally saw a full performance of manages to compose songs that function all at once. Her music crosses the female Carmen in Venice and it hit me all over dramatically whilst still being musically passaggio and so works beautifully for again. It is one of my favourite musical stimulating. He is a master of crafting me to warm up and blend through my pieces as it a perfect example of when lyrics and music that enhance a storyline, voice, but more than that, she constantly music and character align so beautifully. develop a character, are exciting and reminds me of the passion, soul and heart unexpected yet simultaneously moving in performing music. and thought provoking. He is a poet. 23 WORLD MASTERS GAMES WAIKATO-TAINUI REBEL SPORT

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Meeting James ME Tennant at the beginning of my AND seventh-form year was something MY that helped me realise that my life Cello could be music.

as a complete shock. “Being in a foreign I could imagine playing this cello forever.” country, I had no idea who I could get to She purchased the cello in 1991 in Katherine fix it,” she says. Boston, while studying a postgraduate She was recommended a luthier in degree at The Boston Conservatory Paris, but received more bad news: fixing of Music, Dance and Theater (now the Hebley it would take longer than the time she had Boston Conservatory at Berklee). In in Europe. So the broken cello went back 1992 she landed a job at the APO, KATHERINE HEBLEY’S to Amsterdam, and Katherine spent the and it was around that time she took CELLO KNOWS THE rest of the trip taking advantage of her the cello-breaking flight with her now- PAIN OF LONG-HAUL travel plans, checking out cellos wherever husband Andrew Uren, also a musician, TRAVEL ALL TOO WELL. she went – France, England and the who was pursuing music studies in the Netherlands. Netherlands. “It was a really good experience but Growing up in Napier, Katherine In the early ‘90s, Katherine travelled ultimately it made me realise how much realised in her teenage years that she to the Netherlands for an extended I really liked my cello. Even the more might be able to forge a career in music. holiday, and she also took it as an expensive cellos weren’t achieving the “Meeting [American cellist and opportunity to have lessons with sound I liked.” University of Waikato lecturer in cello] Dutch cellist Pieter Wispelwey. She And it also meant she could return James Tennant at the beginning of my recalls opening the cello case after to New Zealand and let luthier Noel seventh-form year was something that the flight, which had been checked Sweetman take his time repairing the helped me realise that my life could be with other luggage – “as one does instrument with superb craftsmanship – music. My mum was good enough to when one is a student”. a job that would ultimately take a year, drive me from Napier to Hamilton every “I looked at it and at first I thought, amongst his other work. couple of weeks for two one-and-a-half ‘oh, it looks alright’, and then ‘oh wait, Despite the close call, Katherine still hour lessons with Jim. That meant that there’s a crack in it’. And then I pulled it happily plays her Fleta Brothers (Spain) I was accepted into two universities on out and realised there’s a really, really cello today. It will be 100 years old cello, and being surrounded by other big crack right up the back. I guess it this year, and Katherine says she was musicians gave me a different view on had been dropped vertically. Dropped is attracted to the variety of sound it can music as a career,” Katherine adds. probably an understatement!” she laughs. make. “Colour in music is important to “And a book by Tessa Duder called Katherine said the sudden realisation me. It’s hard to know at first what you’re Jellybean, which showed me that that her cello was entirely unusable, looking for, so you try a few out and look people, even mums, can lead a life as a throwing her plans out the window, came for that responsiveness. Ultimately I knew professional musician.” 25 Playing with Clay Flautist Kathryn Moorhead has found Tucked away behind Titirangi Community House, down a slippery another outlet for creative expression, walkway and under a canopy of native bush, you’ll find the Titirangi as Helen Spoelstra discovers. Potters club. And there, you might find Associate Principal Flute Kathryn Moorhead. Kathryn started potting around seven years ago, inspired by her grandmother who was also a potter. “I’d always noticed STAG E my grandma’s pots around the house, and I know that she loved doing it. I enjoyed art classes at school, but as I got older the art classes clashed with the music classes and I had to choose one or the other, and it was really music for me,” she explains. “But, I always thought that when I had a bit more free time I’d like to do something, whether it was drawing or painting or pottery, and pottery was the first thing that I dabbled in and I just loved it. You’re totally in the moment, and you come out with something – usually – nice at the end.” As well as being and outlet for

OFF Kathryn’s creativity, pottery provides an important antidote to the busy, and at times stressful, life of a professional musician. “If you make a mistake you just throw it in a heap, and you can recycle the clay and start again. It’s not like music where we’re aiming for perfection right from the word go. At the end of the concert, your music disappears and it’s all over. But with pottery you can make something and keep it for your house, your table or for the generations to come.” Kathryn enjoys the calm environment of the studio. “No-one is ever in a hurry here – everyone is on ‘potter’s time’ and in their own little zone. There’s no pressure. And even if you make something horrible, people just come over and say ‘oh, that’s really interesting!’ There’ll always be a couple of people in the corner with their home-made mugs having a chat. Its lovely, and everybody is supportive of each other. It’s just nice to do something where everything is very slow, and calm and you have no deadlines,” she adds. And with a membership to the studio, Kathryn can indulge in her hobby whenever she can find the time. “I don’t get here every week, but I try to. There’s a whole bunch of women my age with young children who also come. We had one woman walk in the door once and

ALL IMAGES: ADRIAN MALLOCH ADRIAN IMAGES: ALL she said ‘I heard you could have a glass 26 apo.co.nz

... I find pottery

and it’s quite lovely. “I’m really into blues such a great at the moment,” she laughs as I admire the incredible colours. “People have different preferences when it comes to the kind of distraction. clay they use. My first teacher was this big burly guy with lots of muscles and he had this really hard, tough, gritty clay that just didn’t work for me – I just didn’t have the power. So, I tried out lots of different clays and I discovered porcelain, which is of wine and get away from the kids here so lovely because I don’t need to use a – I’m not sure if I can pot but can I join?’” lot of strength.” It’s also nice to have something As for selling her work, Kathryn’s family outside of music, Kathryn explains. have other ideas. “We had an exhibition at “Musicians get a little bit obsessive about the weekend and I was trying to work out things and dwell on every little detail. And what to put in. But the things that I thought I find pottery such a great distraction. were good enough to sell, my family would Instead of worrying about music before I say ‘no, you can’t sell that one!’ I had this go to bed I can think ‘I wonder what glaze bowl that was a bit heavier than I would like, would go really well with that shape?’” but my four-year-old said ‘no, it’s perfect for Kathryn shows me some of her work my hands mummy – I could use that one!’”

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VM1707-2828 OAW_ATC - Nell Gwynn_advert.indd 1 25/07/17 3:58 PM apo.co.nz CRESCENDO NEWS

Crescendo is a unique membership We now have more than 220 programme that allows you to get up Crescendo members, which offers C R E S C E N D O and close with APO musicians and camaraderie and conversation with visiting artists, and getting to know fellow music lovers at concerts, and the CALENDAR OF more about the talented individuals opportunity to engage with the orchestra E V E N T S T O on stage. Crescendo members are on a deeper level. Annual memberships J U N E 2 019 also given exclusive opportunities start at $100. to sit in on APO rehearsals and 28 FEBRUARY experience the work that goes into Meet the Artist: violinist each concert. Tianwa Yang The Crescendo event programme for Post-concert, Auckland Town Hall 2019 is full of interesting and insightful 16 A P R I L activities for members, including a Open Rehearsal – Templar Great Behind the Scenes event with our Classics: A Baroque Easter new harpist Ingrid Bauer in July. Many 2:30pm, Auckland Town Hall people simply admire the grandeur and effortless beauty of a harp, but behind 9 M AY the scenes it is a marvel of engineering, Meet the Artist: cellist Umberto and Ingrid will demonstrate how much To express interest in attending a Clerici is going on when she’s performing Crescendo event or to purchase Post-concert, Auckland Town Hall on stage. We also have three open your membership, contact Charlotte 27 JUNE rehearsals, some of our most popular Crocker: Meet the Artist: violinist Crescendo events – it’s a great chance 09 638 6266 ext 234 Andrew Beer to get a sneak preview of concerts and Post-concert, Auckland Town Hall hear how it all comes together. apo.co.nz/crescendo FOUNDATION NEWS

To celebrate the start of the New Year, The November concert profiled distributed. Only income (after providing the Foundation is pleased to announce Oboe Section Principal Bede Hanley, for inflation) is available for distribution. that violinist Ewa Sadag, has been accompanied by Rachel Moody on the This means that donors’ gifts continue awarded the Foundation Scholarship violin, in the gracious surroundings of Pah give year after year, leaving their mark for 2019. Ewa will travel to Switzerland Homestead, courtesy of Sir James Wallace. in the music in perpetuity. In December and Italy to study and to attend a Earlier in the year the Foundation the Foundation was pleased to make a conference. hosted an information morning for those grant of $368,721 to the APO. During Each year the Auckland Philharmonia interested in learning more about the the year the Foundation received three Foundation awards a scholarship to one Foundation. The role of the Foundation bequests of $21,307 in total. At 2018 or two members of the APO to study was explained as well as the importance year end there were 145 members of the overseas. The purpose of the scholarship of growing the endowment fund that 21st Century Circle. is to enable orchestra members to generates the income to enable the BELINDA VERNON, CHAIR study with the best, to hone their skills Foundation to make significant annual and to return to the orchestra with new grants to the APO. technique, experience, energy and An important way of growing the enthusiasm. The scholarship experience endowment fund is through gifts in wills, If you would like to know more about has multiple benefits for both the with those who advise the Foundation of the Foundation or how you can individual and the orchestra as a whole. their intention to leave a gift becoming support the APO through a gift in your In November 2018, the Foundation members of the 21st Century Circle. will, please contact Adele Diviney, hosted its annual Foundation scholarship The endowment nature of the Development Manager: recital where scholarship recipients Foundation’s Trust Fund means that 09 623 5628 present a programme of music to gifts are treated as capital, are inflation members of the 21st Century Circle. adjusted each year and are not [email protected]

CHAIR DONOR SPOTLIGHT

LINDSAY AND JANET SPILMAN As a chair donor, you get to know to him about the cultural differences SUPPORT THE CHAIR OF the musician you support. What between New Zealand and the US. We SUB PRINCIPAL HORN have been some of the interesting also love travelling. I find our relationship PLAYER CARL WELLS. things you’ve learned about Carl? with Carl enriching and fascinating. We actually have quite a bit in common! What has been one of the most Carl and his wife Camille are keen memorable Chair Donor events For more information about becoming cyclists and so are my wife Janet and you’ve enjoyed? a chair donor, contact: I. When we catch up, we usually talk Spring Drinks at the Hilton in 2017 with a [email protected] about bikes, and where we have been riding lately. Carl is from North America presentation and recital by Bede Hanley. 09 638 6266 ext 234 and I find it really interesting talking It was captivating; I learned a great amount about the oboe and its history. The event was intimate and special in such a lovely setting. It was quite unique and tailored to the audience. I also enjoyed the end of year Festive Chair function at Pah Homestead. It’s always a very entertaining and a great way to catch up with fellow Chair Donors.

Are there any outstanding concert memories you have? We love the variety of concert programmes that the APO prepares every year. One event which tickled my fancy was the Deloitte Winter Gala Shaken, Not Stirred. I have always enjoyed the theme music composed by John Barry for the James Bond films. The singer, Esther Stephens, was terrific. We enjoy attending pre- concert talks and the interval hosting for Chair Donors; these really add to the IMAGE: ADRIAN MALLOCH whole concert experience every time. 30 apo.co.nz FRIENDS NEWS

Becoming a member of the Friends James Fry, the 2018 Hayden Staples of the APO provides you with unique Piano Scholar Sara Lee, and the Felice DATE S opportunities to support the APO and Duo. The 2019 MTA guests are listed here, enhance your enjoyment of music. The and the music programme promises to be 22 FEBRUARY 2019 Friends support the orchestral concerts just as exciting. Members pay only $15 for Tamara-Anna Cislowska, pianist by selling programmes, providing the these events, non-members pay $20. 22 MARCH 2019 orchestra, conductor and soloists with As a member, your $35 annual Paul Christ, APO Operations supper and manning the information subscription enables us, when added to Manager table. We also distribute general funds raised from MTAs and concerts, to promotional information to public donate around $20,000 to the orchestra 3 MAY 2019 places, flyers for the North Shore and each year. There are so many practical Frances Moore, APO Artistic In Your Neighbourhood concerts and, ways that Friends support the APO family Administrator in cooperation with APO Connecting, and we hope that you will see joining 1 MAY 2019 organise and promote Sunday the Friends in 2019 as a way that you David Kay, APO horn player afternoon concerts that give talented can support the APO to be even more and conductor players the opportunity to perform successful as Auckland’s Orchestra. before an appreciative audience. 28 JUNE 2019 Our Meet the Artist events continue For further information contact: Mikhail Tatarnikov, conductor to be hugely interesting and great value. (tbc) Jackie Wilkinson, President Recent guests included Guy Noble, Alan [email protected] Buribayev and Xian Zhang (conductors) and we have had brilliant musicianship Anne Stewart, Membership Secretary from APO musicians Gordon Hill and 09 476 1353

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Auckland | Hamilton | Wellington | Christchurch Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by the following companies, trusts and organisations. These funds support the orchestra’s current operations and education programme.

CORE FUNDERS

PLATINUM

Sir William & Lady Manchester Charitable Trust

THANK YOU GOLD

Chisholm The Douglas Whitney Family Goodfellow Charitable Trust Charitable Trust

SILVER

Alexander Harold Watson Charitable Trust

Lesley French Maurice Paykel Estate Charitable Trust

BRONZE

Adrian Malloch Photography Karajoz Coffee North & South Trust Artedomus (NZ) Ltd The Kelliher Charitable Trust NZCT Blue Waters Community Trust Marshall Day Acoustics Orongo Bay Homestead The Hamana Charitable Trust Ministry of Education Scarecrow – deli, café & florist James Russell Lewis Trust Mt Wellington Foundation St John 32 apo.co.nz

JAN – JUL 2019

DATE CONCERT/ACTIVITY TIME LOCATION

Thu 14 Feb The New Zealand Herald Premier Series: Fantasy 8pm Auckland Town Hall

Thu 21 Feb Templar Great Classics: Musical Postcards 7.30pm Auckland Town Hall

Thu 28 Feb The New Zealand Herald Premier Series: Beethoven’s Triple 8pm Auckland Town Hall

Sun 3 Mar In Your Neighbourhood: Septet in the City 3.30pm Concert Chamber Fri 8 - Sun Auckland Arts Festival: The Magic Flute Various Aotea Centre 10 Mar Tue 19 Mar Auckland Arts Festival: In C 6pm Spiegeltent, Aotea Square

Sat 23 Mar Auckland Arts Festival: Messiaen’s Turangalîla 7pm Auckland Town Hall

Tue 26 Mar Unwrap the Music: Handel’s Water Music 6:30pm Auckland Town Hall

Thu 28 Mar Hallertau Brewery Presents APO Session Series: TEEKS 8pm Auckland Town Hall

Sat 30 Mar APO Connecting: APO 4 Kids – Storytime 10am & 11.30am Auckland Town Hall

Thu 4 Apr The New Zealand Herald Premier Series: Landscapes 8pm Auckland Town Hall

Sat 6 May APO Connecting: APO 4 Kids – Storytime 10am & 11.30am Bruce Mason Centre, Takapuna

Mon 8 Apr In Your Neighbourhood: Autumn Strings 6.30pm Somervell Church, Remuera

Tue 9 Apr In Your Neighbourhood: Autumn Strings 6.30pm St Peter's Church, Takapuna Artworks Theatre, Sun 14 Apr In Your Neighbourhood: Autumn Strings 3.30pm CONCERTS Waiheke Island Thu 18 Apr Templar Great Classics: A Baroque Easter 7.30pm Auckland Town Hall The New Zealand Herald Premier Series: Elgar’s Cello Thu 9 May 8pm Auckland Town Hall Concerto Sat 11 May Family Concerts: Dahlesque 11am & 2pm Auckland Town Hall

Wed 15 May Auckland Writers Festival: Man, Sitting in a Garden 6pm Auckland Town Hall

Wed 22 May Together with APO: Planet Earth II Live in Concert 7.30pm Aotea Centre

Thu 23 May Together with APO: Planet Earth II Live in Concert 7.30pm Aotea Centre

Thu 30 May The New Zealand Herald Premier Series: Ehnes plays Bruch 8pm Auckland Town Hall

Wed 5 Jun Michael Hill International Violin Competition: Round III 7.30pm Concert Chamber

Thu 6 Jun Michael Hill International Violin Competition: Round III 7.30pm Concert Chamber

Sat 8 Jun Michael Hill International Violin Competition: Grand Finale 7.30pm Auckland Town Hall

Tue 11 Jun Together with APO: The NZ Mix Tape 8pm The Civic

Tue 18 Jun Deloitte Winter Gala 6.30pm Auckland Town Hall

Wed 19 Jun Unwrap the Music: Mozart's Clarinet Concerto 6.30pm Auckland Town Hall

Thu 27 Jun The New Zealand Herald Premier Series: Pathétique 8pm Auckland Town Hall

Sat 29 Jun APO Community Classics Central: Light & Dark 3pm Auckland Town Hall

Mon 1 Jul In Your Neighbourhood: Beats, Working 6.30pm All Saints Church, Howick

Tue 2 Jul In Your Neighbourhood: Beats, Working 6.30pm St Luke's Church, Remuera The Trusts Community Foundation Opera in Concert: Fri 19 Jul 7.30pm Auckland Town Hall Don Giovanni Sun 21 Jul Family Concerts: Peter & the Wolf Live 11am & 2pm Aotea Centre

Thu 25 Jul Templar Great Classics: Tragic Heroes 7.30pm Auckland Town Hall

Sat 27 Jul APO Community Classics West: Light & Dark 3pm Trusts Arena, Henderson

33 Auckland Philharmonia Orchestra PO Box 7083 Wellesley St Auckland 1141 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] apo.co.nz aporchestra @aporchestra aporchestra