sign in sign up
<<
Home , APRA AMCOS, Catherine Tizard, Dalibor (opera), Giordano Bellincampi, John Logan Campbell, Manon Lescaut

THE TRUSTS COMMUNITY FOUNDATION IN CONCERT

7.30PM, FRIDAY 14 JULY TOWN HALL AUCKLAND

Auckland Philharmonia Orchestra is Renowned for its innovation, passion ’s full-time, professional, and versatility, the APO collaborates with metropolitan orchestra, serving the some of New Zealand’s most inventive country’s largest and most vibrant city with artists. In 2017 the APO performs with a comprehensive programme of concerts, Pop-up Globe, The Dust Palace circus and education and outreach activities. theatre company, and together with Jon Toogood, Julia Deans, Laughton Kora and In more than 50 mainstage performances Anna Coddington in a concert celebrating annually, the APO presents a full season the musical legacy of David Bowie. The of symphonic work, showcasing many APO also supports several New Zealand of the world’s finest classical musicians. concert premieres in 2017, including Recent high-profile artists include Vladimir singer- Rufus Wainwright, La Ashkenazy, violinists Ning Feng and Noah La Land film with live orchestra and Harry Bendix-Balgley, horn player Stefan Dohr, Potter Live in Concert. pianist Cédric Tiberghien and cellists Li-Wei Qin and Julian Steckel. Leading international Through its numerous APO Connecting artists in 2017 include composer/conductor (education, outreach and community) Tan Dun, violinists Alina Ibragimova and initiatives the APO offers opportunities to Chloë Hanslip, pianists Kathryn Stott more than 20,000 young people and adults and Behzod Abduraimov, and cellist nationwide to participate in music, ranging Torleif Thedéen. We are also delighted to from hip-hop and rock, to contemporary welcome back conductors Rumon Gamba and classical. and Andrew Gourlay, among others, to 100,000 people hear the orchestra live complement the presence of APO Music each year, with many thousands more Director Giordano Bellincampi. reached through special events, live The APO is proud to support both New streams, recordings and other media. Zealand Opera and the Royal New Zealand Ballet in their Auckland performances, as well as working in partnership with Auckland Arts Festival, the New Zealand International Film Festival and the Michael Hill International Violin Competition. CONTENTS

Welcome 2 Auckland Philharmonia Orchestra 2017 5 Puccini’s Lescaut 6 Acknowledgements 18

Auckland Philharmonia Orchestra receives major funding from

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

Programme book Visiting international artists

Programme notes by Tabatha McFadyen © 2017 Stay at Enjoy Season photography by Adrian Malloch

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

Puccini’s 2017 1 WELCOME

36 musicians. In this concert, we will present Puccini’s original orchestration, for the first time in New Zealand, with the full complement of 80 musicians. The orchestra and Maestro Giordano Bellincampi are excited to be taking on this timeless work with such a phenomenal line up of singers. This includes Italian soprano Serena Farnocchia in the title role and Italian Massimo Giordano as her hapless lover Des Grieux. We are also delighted to be collaborating Since our first Opera in Concert one again with our friends from New Zealand composer has appeared more frequently Opera and grateful for the continued than any other. support of the Trusts Community Foundation in presenting our fourteenth Manon Lescaut was Puccini’s break-through Opera in Concert. success and at its 1893 premiere received 30 curtain calls. It is impassioned and Barbara Glaser addictive, much like the title character herself. Chief Executive Auckland Philharmonia Orchestra Tragic heroines are a common theme in Puccini’s work. A master of operatic realism, he has created some of opera’s most memorable moments – think ’s , and the respective deaths of his two heroines in La Bohème and . Perhaps this is what drew him to Prévost’s novel, from which Manon Lescaut is adapted? Manon Lescaut was last performed in Auckland in 1984, at the Mercury Theatre, with a reduced orchestra of approximately

2 apo.co.nz The APO plays a vital role in the trustees’ arts strategy, delivering a programme for West Auckland secondary schools to attend the annual Connecting with Music concert; APO Adventures West, an open orchestra event at The Trusts Arena; and APO 4 Kids Christmas, an annual concert for young children in West Auckland. TTCF’s support also helps to ensure that the APO can attract and retain musicians of the highest calibre, which is why we are proud of our commitment to a violist’s chair held by Greg McGarity and a trombonist’s The Trusts Community Foundation (TTCF) is chair held by Mark Close. delighted to be a strong supporter of Opera in Concert, the cornerstone of the Auckland We very much hope that you will enjoy Philharmonia Orchestra’s annual programme. tonight’s operatic masterpiece, Puccini’s Manon Lescaut, performed by wonderful TTCF’s partnership with the APO was guest artists and Auckland’s own world- established in 1998, a relationship that class orchestra, conducted by Music continues to grow and develop. We Director, Maestro Giordano Bellincampi. increasingly value the role that the APO plays. It delivers not only world-class main Ross Clow stage concerts but also APO Connecting, Chairman an extensive community and education The Trusts Community Foundation programme for toddlers through to aspiring professional musicians – a programme also supported by TTCF. TTCF is proud to have West Auckland’s Portage and Waitakere Trusts as foundation members and it is the Portage trustees’ consistent recommendations that ensure TTCF’s ongoing support of APO’s Opera in Concert is an easy decision.

Puccini’s Manon Lescaut 2017 3 Proudly helping the APO bring you the best international talent.

www.malcolmpacific.com 4 apo.co.nz AUCKLAND PHILHARMONIA ORCHESTRA 2017

MUSIC DIRECTOR CELLOS TRUMPETS Giordano Bellincampi Eliah Sakakushev-von Bismarck β Huw Dann β David Garner + Jonah Levy + CONCERTMASTER Liliya Arefyeva # Norman McFarlane + Andrew Beer James sang-oh Yoo # TROMBONES ASSOCIATE Katherine Hebley Douglas Cross β CONCERTMASTER You Lee Mark Close # Liu-Yi Retallick Callum Hall TROMBONE ASSISTANT BASSES Timothy Sutton * CONCERTMASTER Gordon Hill β Miranda Adams Annabella Zilber + TUBA Evgueny Lanchtchikov # Tak Chun Lai * FIRST VIOLINS Matthias Erdrich Artur Grabczewski # Michael Steer TIMPANI Mark Bennett Steven Logan β Elzbieta Grabczewska FLUTES Ainsley Murray Emma Gerstein β PERCUSSION Alexander Shapkin Kathryn Moorhead + Eric Renick β Jennifer Raven # Caroline von Bismarck PICCOLO Shane Currey Yanghe Yu Jennifer Seddon-Mori * Lucy Qi Zhang HARP Yuri Cho OBOES Rebecca Harris * Satomi Suzuki Bede Hanley β Camille Wells + Guest Musicians for this event SECOND VIOLINS First Violin – Rosemary Harris Dianna Cochrane β COR ANGLAIS Second Violin – Charmian Keay, Xin (James) Jin + Martin Lee * Jiwon Lee, Irina Lgotkina William Hanfling # – Wen Chuan Lin, Mary Wilson Rae Crossley-Croft = CLARINETS Cello – Jacky Siu Sarah Hart Bridget Miles (Bass Clarinet) + Bass – Hamish Gullick Jocelyn Healy Alexei Dupressoir (Bass Clarinet) + Principal Clarinet – Lionel Andrey Rachel Moody James Fry (Eb Clarinet) + Trombone – Benjamin Zilber Milena Parobczy BASSOONS Celeste – David Kelly Ewa Sadag Ingrid Hagan β Katherine Walshe Yang Rachel Guan Ebbett + COMPOSER-IN-RESIDENCE Esther Kim ~ Karlo Margetić CONTRABASSOON VIOLAS Ruth Brinkman * Proudly helping the APO bring you the best international talent. Robert Ashworth β David Samuel + HORNS β Section Principal Christine Bowie # Nicola Baker β = Section Leader Emeritus Anne Draffin # Emma Eden * * Principal Helen Bevin Carl Wells # + Associate Principal Ping Tong Chan Simon Williams # # Sub-Principal Gregory McGarity David Kay ~ APO Orchestral Fellow Susan Wedde www.malcolmpacific.com Puccini’s Manon Lescaut 2017 5 THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT PUCCINI’S MANON LESCAUT

Auckland Philharmonia Orchestra in association with New Zealand Opera

Conductor Giordano Bellincampi

Manon Lescaut Serena Farnocchia Des Grieux Massimo Giordano Lescaut Dalibor Jenis Geronte Pelham Andrews

Also featuring Matteo Falcier Bianca Andrew James Ioelu The Freemasons New Zealand Opera Chorus

6 apo.co.nz SYNOPSIS Manon returns to enjoying the admiration of Geronte and his friends. ACT I After they have departed, Des Grieux Amiens, France, around 1720 appears, initially admonishing Manon for her A group of carefree students and their infidelity, but quickly succumbing to her pleas girlfriends are revelling in the summer for forgiveness. Geronte returns to see them evening outside an inn. Chevalier Des locked in a passionate embrace. He berates Grieux joins them and sings a tongue-in- Manon for having treated him so poorly cheek serenade to the girls. A carriage after he had so loved her; Manon retaliates arrives, bearing a young man (Lescaut), a by mocking his age, underestimating how clearly wealthy, old gallant (Geronte) and severely he will react to such a slight. After a very beautiful young woman. Des Grieux he leaves, Lescaut bursts in, telling them that is immediately besotted. He introduces Geronte has called the police and that they himself to her and she tells him her name is have to escape immediately. Before leaving, Manon Lescaut, and that she is en route to Manon insists on packing her jewellery; a convent, as decreed by her father. Now delaying their escape. The city guards arrive completely in love, Des Grieux is determined and she is arrested. that Manon will not waste away as a nun. Manon agrees to meet Des Grieux later. ACT III Geronte’s own desire to possess Manon Following her arrest, Manon has been becomes clear when he bribes the innkeeper sentenced to deportation to America. Des to have a carriage ready to abduct her. Grieux and Lescaut attempt to conspire for Edmondo overhears the conversation and her escape, but their plans are thwarted. warns Des Grieux. Evening falls and Manon The lovers are united for a brief moment, keeps her promise to meet Des Grieux, who exchanging vows of eternal devotion before convinces her to escape both the convent Manon is marched onto the ship with the and Geronte by running away with him. other female prisoners past a jeering crowd. Geronte arrives to see them flee and is . In desperation to be with Manon Des Grieux Lescaut, sensing the opportunity that could begs to be permitted to board the ship, come with having his sister attached to a even as a cabin boy. Eventually, the Captain man of means, calmly assures Geronte that agrees, and the two lovers rejoice that they Manon loves finery too much to be content will be together. with an impoverished student. ACT IV ACT II Manon and Des Grieux are wandering alone Manon is now Geronte’s mistress, his in the desert, having fled from New Orleans. wealth having lured her away from Des Manon is exhausted and begs Des Grieux Grieux. Lescaut visits, congratulating to look for shelter while she rests. He her on having achieved such a station. leaves, and she is plunged into a state of Although she is clearly not displeased desperation and fear, knowing that her death with her newfound material comforts, she is imminent. Des Grieux returns having found confesses to her brother that she still loves nothing. Soon after, Manon expires in his Des Grieux. Lescaut feels for his sister arms – saying that death will wipe away her and departs to find Des Grieux, while faults, but her love will never die.

Puccini’s Manon Lescaut 2017 7 PROGRAMME NOTE actually happy together, the lack of character development in the supporting ‘Manon, you are always the same. Trembling roles, and let’s not forget that imaginary divinely, in passionate abandon, gentle ‘desert outside New Orleans’ thing… caresses, full of life and love, then suddenly you are blinded by riches and money.’ However, oddities though there may be, Manon Lescaut has still rightfully earned Such is Des Grieux’s prudent observation the title of being Puccini’s first masterpiece. of Manon Lescaut, the woman who ignites Although not the epitome of structural his soul and precipitates his demise. perfection like La Bohème and Madama Passionate and capricious, beautiful but Butterfly, its youthful imperfections make it fatally flawed; in other words, a perfect feel deeply personal, Puccini’s commitment character for an operatic heroine. to each passing moment encapsulate an all- However, when consuming, teenage love. Manon Lescaut approached his publisher Giulio Ricordi is the first mature manifestation of Puccini’s with the suggestion, a couple of Frenchmen calling card – capturing unbridled human had gotten there first. Daniel-François- emotion in music. Esprit Auber had written a reasonably This music sounded markedly different successful adaptation back in 1856, but to that of his Italian operatic forefathers more concerning for Ricordi was the like Rossini, Bellini, even Verdi. Rather version by Massenet, his operatic account than continuing in a tradition of arias and of Abbé Prevost’s 1731 story having had ensembles separated by dialogue-like wide-spread international success ever recitative, Puccini turned to the music of since its 1884 premiere. He was less : lush, more autonomous than enthused to put a competitor out into orchestration, densely chromatic the market, particularly not one written harmonies and the pursuit of a complete by a 31-year-old composer who was yet integration of music and drama. to produce a hit. Eventually though, the project went ahead, Ricordi capitulating to Puccini deploys this vast musical language Puccini’s protest that “a woman like Manon in a manner that leaves us with very little can have more than one lover.” choice but to be subsumed by a tidal wave Securing the blessing of his publisher of emotion, emphasising a key point of was only the first step in the arduous, difference between his reading of Manon three-year-long process of getting Manon and that of Massenet’s, or even Prévost’s, Lescaut to stage. Puccini wanted to write for that matter. The latter two men play his own – Ricordi refused and the Manon’s capacity to manipulate and her love composer’s subsequent inability to build a for Des Grieux very close together, resulting rapport with a collaborator resulted in him in an occasional uncertainty about her motivations. Puccini’s music, on the other churning through five different librettists. hand, leaves us in no doubt that her love for No doubt this personnel inconsistency was Des Grieux is completely genuine, even if largely responsible for the dramaturgical she strays from its course. weaknesses that people often cite when talking about Manon Lescaut; problems Compare the music of different scenes in like the audience never seeing the lovers Act II, for example. The act opens with her

8 apo.co.nz vainly basking in her own beauty and the newfound splendour of her environment.

Musically, it is a pastiche of 18th century Image: A. Dupont minuets and gavottes. Though pretty, their cultivated character immediately renders this world and Manon’s enjoyment of it hollow. When she sings her aria recounting her previous happiness with Des Grieux (In quelle trine morbide – in those soft, lace curtains) the musical language completely changes to being one of blistering pathos and sensual momentum. Throughout the remainder of the opera, as she sinks both deeper into her own tragedy but also into her love for Des Grieux, her music intensifies even further, reaching its zenith in her Act IV aria (Sola, perduta, abbandonata – alone, lost, abandoned), in which enormous musical forces are used to give voice to the inner torment of one insignificant, fallible human being. Even though the tragedy that she is railing against is of her own doing, we grieve for her. In her flaws we see ourselves, and through Puccini’s music we allow ourselves to acknowledge the intensity of our inner emotional world – the door to which most of us keep pretty firmly shut. But Puccini always knew what he was doing: “to make the world weep, therein lies everything.” If this was his manifesto of sorts, he has certainly succeeded. The conclusion of the first performance of Manon Lescaut saw 30 curtain calls for cast and composer alike, and it hasn’t stopped making the world weep ever since. Copyright © Tabatha McFadyen.

Giacomo Puccini

Puccini’s Manon Lescaut 2017 9 Orchestra, with major works including Strauss’ Ein Heldenleben and a concert performance of Verdi’s , as well as further performances with the Duisburg Philharmonic, including a highly-acclaimed visit to Amsterdam’s Concertgebouw Hall performing repertoire by Nielsen, Sibelius and Beethoven, and performances of major works including Bruckner’s Fourth and Mahler’s Third symphonies. Giordano Bellincampi’s 2016/17 season in Kristiansand and Auckland has a strong focus on the symphonies of Brahms, Schubert and Nielsen, vibrant orchestral showpieces such as Berlioz’s Symphonie Fantastique and the tone poems of , and a concert performance in Auckland of Puccini’s Manon Lescaut. He GIORDANO BELLINCAMPI has excelled in the field of opera since CONDUCTOR making his debut with in with La Bohème in 2000. Giordano Bellincampi is the Music Director Maestro Bellincampi has conducted many of the Auckland Philharmonia Orchestra of the great Italian works at the Royal Opera and Chief Conductor of the Kristiansand with particular focus on Puccini and Verdi, Symphony Orchestra. Born in Italy and including leading their acclaimed new moving to Copenhagen at a young age, production of at the opening of their Maestro Bellincampi began his career new theatre in 2005. as a trombonist with the before making his professional As Associate Professor at the Royal debut in 1994. Previously, he Danish Academy, Giordano Bellincampi is was General Music Director of the Duisburg dedicated to educating the next generation of orchestral musicians and conductors, and Philharmonic, the Principal Conductor of I he also regularly gives masterclasses and Pomeriggi Musicali, , General Music serves as a jury member for international Director of the Danish National Opera conducting competitions. In 2010 he from 2005-2013, Music Director of the was created a Knight of the Order of Copenhagen Philharmonic Orchestra from the Dannebrog, an award bestowed by 2000-2006 and between 1997-2000 the Danish Royal Family for services to he was Chief Conductor of the Athelas Danish culture. He also holds the title of Copenhagen, the leading Cavaliere from the President of Italy for his contemporary ensemble in Denmark. international promotion of Italian music. Highlights of his 2015/16 calendar included his opening performances as Music Director of the Auckland Philharmonia

10 apo.co.nz Israeli Opera in Tel Aviv, Canadian Opera Company in Toronto, , , Savonlinna Opera Festival, Teatro Municipal de Santiago de Chile, in Cardiff, Suntory Hall in Tokyo. She collaborated with such important conductors as Bruno Bartoletti, Vladimir Jurowski, , , , Gianandrea Noseda, Daniel Oren, , Pinchas Steinberg, and directors like Paul Curran, Willy Decker, Gabriele Lavia, Jonathan Miller, Michele Placido, , Pier’Alli, . She opened the 2016/17 season performing as Elisabetta in Don Carlo Don SERENA FARNOCCHIA at di Parma, followed Giovanni (Donna Elvira) in Stuttgart Opera, SOPRANO La bohème (Mimì) at Munich Staatsoper, Verdi’s Messa da at Zurich MANON LESCAUT Opernhaus and Otello (Desdemona) at New National Theatre in Tokyo. Born in Pietrasanta (Italy), Farnocchia Among her future plans are performing studied with Gianpiero Mastromei. In 1995 (Amelia) at Munich she was one of the youngest winners of Staatsoper, Verdi’s Messa da Requiem the “ Competition” in for Opera in and Maria Philadelphia. In 1998 she attended the Stuarda (title role) at Deutsche Oper am Accademia of Teatro alla Scala, and soon Rhein in Düsseldorf. after she made her house debut in (Donna Anna), under the baton of Serena Farnocchia’s performance is Riccardo Muti. supported by and in memory of Lesley Since then she established a remarkably French, who loved music and opera international career performing regularly in some prestigious opera houses and festivals including Teatro alla Scala, Teatro dell’Opera di Roma, Festival Pucciniano di Torre del Lago, Teatro Regio di Torino, Teatro di Venezia, Maggio Musicale Fiorentino, Teatro Comunale di Bologna, Opéra de Lausanne, Grand Théâtre de Genève, Bayerische Staatsoper in Munich, Liceu de Barcelona, New

Puccini’s Manon Lescaut 2017 11 MASSIMO GIORDANO TENOR DES GRIEUX

Pompeii-born Massimo Giordano is one of the world’s foremost . He has performed some of most pivotal roles at prestigious concert halls the world over. Giordano himself calls The Scala of Milan, The Metropolitan of New York, The Staatsoper of Vienna, Munich, Berlin, The of , and the Opéra of Paris some of his “musical homes.” Giordano studied flute and voice at the Conservatorio G. Tartini in Trieste and completed his vocal studies under . After winning numerous vocal Gabriele Adorno in Simon Boccanegra competitions, he made his professional and Pinkerton in Madama Butterfly at singing debut in 1997 in the title role of the Hamburg State Opera, as well as Mozart’s in Spoleto. Cavaradossi in at Covent Garden and This was followed by several key roles, the . but it was his 1999 portrayal of Werther at the Teatro Municipale in Giordano’s concert engagements have that led to a rapid succession of important included Verdi’s Requiem under Riccardo debuts, including Roméo et Juliette at Chailly in Amsterdam, Toulouse, Vienna, Parma in 1999, the title role in Massenet’s Dresden and Budapest, under Zubin Mehta Le Jongleur de Notre Dame at the in Tel Aviv, and under in Opera, Verdi’s Il Giorno di Regno at the Rome and Sydney. Teatro alla Scala in 2001, and Fenton in In 2013, Giordano released his debut at the in 2001. album, Amore e tormento (Love and pain) This year, as well as for the APO, Giordano through BMG. will perform Des Grieux in Manon Lescaut at the Royal Opera House, Staatsoper Massimo Giordano’s performance is Hannover. He’s also playing Cavaradossi supported by Dame Jenny Gibbs DNZM in Tosca at the Hamburg State Opera, Korean National Opera and in Trieste, Maurizio in Adriana Lecouvreur at the Badisches Staatstheater Karlsruhe, and Don José in Carmen at the New National Theatre Tokyo. Future engagements include

12 apo.co.nz DALIBOR JENIS LESCAUT

Acclaimed for his “deep and rich voice” ( Times), Slovak baritone Dalibor Jenis has sung the leading roles in operas by Bellini, Rossini, Mozart and Verdi in some among the world’s major theaters including Teatro alla Scala, ROH Covent Garden in London, Opéra National de Paris, Wiener Staatsoper, , Deutsche Oper Berlin, Bayerische Staatsoper in Munich, International Festival, Los Angeles Opera, New National Theatre Tokyo, in Sydney, Arena di Verona, Opera di Roma, Maggio Musicale Fiorentino in Dalibor Jenis’ performance is supported by Florence, Teatro Regio di Torino, Teatro Elizabeth and Richard Ebbett Massimo di Palermo. He’s worked with such conductors as James Conlon, Asher Fisch, Daniele Gatti, Gianandrea Noseda, Renato Palumbo and Alberto Zedda. He opened the 2016/17 season performing at Munich Bayerische Staatsoper, followed by Don Giovanni, and Carmen in Bratislava, at Deutsche Oper in Berlin, Manon Lescaut at Teatro Regio di Torino and at Opernhaus in Zürich. Among his future plans are Macbeth at Teatro Regio di Torino, at Edinburgh Festival and at Théâtre des Champs Elysées de Paris, Macbeth, Simon Boccanegra and Nabucco in Bratislava, Nabucco at Arena di Verona, Il Duca d’Alba in Antwerpen, I at Deutsche Oper in Berlin, at Opera Australia in Sydney, Nabucco at Bayerische Staatsoper in Munich.

Puccini’s Manon Lescaut 2017 13 PELHAM ANDREWS BASS GERONTE

Bass Pelham Andrews trained in Australia, the UK and Germany, and is a graduate of the Cardiff International Academy of Voice and the University. A former Young Artist of the State Opera of South Australia, Pelham has performed extensively with that company. He has also sung Méphistophélès (La Damnation de Faust) and the King of Bambaras (Angelique) for Victorian Opera, and for Opera Australia he has appeared as Sparafucile and Monterone (Rigoletto), Lodovico (Otello), Zoroastro (Orlando), Baron Douphol (La Traviata), Speaker () and Second Mate (Billy Budd), and throughout Australia, Malaysia and Singapore with touring company Co-Opera. He has won several awards, including the McDonalds Operatic Aria. He is also an accomplished and passionate interpreter of song repertoire. Last year Mr Andrews returned to Opera Australia where his role and cover responsibilities included Timur (Turandot), Baron Douphol (La Traviata), Flemish Deputy (), King (Aida), Figaro (), and Masetto (Don Giovanni). In 2016 his engagements include singing the role of Farfarello and covering The King of Clubs in The Love for Three Oranges for Opera Australia and the roles of Sciarrone in Tosca and Lester Lamb in Cloudstreet for State Opera of South Australia.

Pelham Andrews’ performance is supported by The Wallace Foundation

14 apo.co.nz MATTEO FALCIER TENOR

One of the most interesting Italian tenor of his generation, graduated in singing at Conservatory in Milano, Matteo Falcier attended the “Accademia della Scala” (2012/13). Subsequently he attended the improvers vocal course at “Accademia Rodolfo Celletta” in Martina Franca. Currently he is studying with the soprano Francesca Patanè and the baritone Marco Chingari. He has already performed in some among the major Italian theaters, including Teatro dell’Opera di Roma, Teatro Regio di Torino, Festival, Teatro Valli di Reggio Emilia, Teatro Donizetti di Bergamo, Teatro Grande di Brescia, Teatro Fraschini di Pavia, Teatro Municipale di Piacenza, Filarmonico di Verona and La traviata Teatro Comunale di Ferrara, Teatro (Alfredo) at Teatro San Carlo di Napoli. Ponchielli di Cremona, Teatro Fraschini di Among his future plans are Rigoletto Pavia, Teatro delle Muse di Ancona, Teatro (Duca di Mantova) at the Theaters of Sociale di Como. Pavia, Jesi, Como, Brescia, Cremona and He worked with such conductors as Bergamo, Manon Lescaut at New Zealand Riccardo Muti, Roberto Abbado, Carlo Opera in Auckland, as well as I Pagliacci Goldstein, Roland Böer, Julian Kovatchev (Beppe) in Oman during a tour of Teatro e Nicola Paszkowski. dell’Opera di Roma. During the 2015/16 season he performed Matteo Falcier’s performance is supported La bohème (Rodolfo) at Theaters of Como, by Ron Saunders Cremona and Pavia, Falstaff at Savonlinna Festival and at Teatro delle Muse di Ancona, Benvenuto Cellini (Francesco), and (Rinuccio) at Teatro dell’Opera di Roma, Le nozze di Figaro (Don Basilio) at Spoleto Festival. He opened the 2016/17 performing as Fenton in Falstaff in Trapani, followed by Le nozze di Figaro (Don Basilio) in Yokohama with Wiener Staatsoper, Die Fledermaus (Alfred) at Teatro dell’Opera di Roma and at Théâtre des Champs Elysées de Paris, (Tebaldo) at Teatro

Puccini’s Manon Lescaut 2017 15 JAMES IOELU BIANCA ANDREW BASS-BARITONE MEZZO-SOPRANO New Zealand born bass-baritone James Born in , London-based mezzo- Ioelu returns from London, having taken up soprano Bianca Andrew completed her an apprenticeship with the National Opera undergraduate studies at the New Zealand Studio in the 2015-16 season. A highlight School of Music, after which she went on to from the season includes an evening recital join New Zealand Opera as a Freemasons with Dame for which a critic Dame Emerging Artist. Bianca described his voice as having “a wonderful recently graduated from the Opera Studies resonance.” programme at the Guildhall School of Music and Drama, where she was recognised as In 2015 he attended San Francisco Opera’s one of the School’s leading singers in the Merola Opera Program singing the title role prestigious Gold Medal competition. in directed by Nicholas Muni and conducted by Warren Jones with the On the concert platform, Bianca has given San Francisco Opera Orchestra. performances with all the major orchestras in New Zealand . She has appeared with His competition successes include winning the London Symphony Orchestra, recording the New Zealand Aria Competition, the Schumann’s Das Paradies und die Peri with New Zealand Young Performer of the Year Sir for LSO Live, and as a award as well as placing second in both soloist in Tippett’s A Child of Our Time. the and Richard Bonynge Bel Canto Competition and the Sydney Bianca is a Samling Artist, a Kiwi Music Eisteddfod Aria Competition. Since moving Scholar and recipient of the Gwen Catley to London, Mr Ioelu has had the support Scholarship from the Amar-Franses and mentorship of Dame Kiri Te Kanawa and Foster-Jenkins Trust. She continues to the Kiri Te Kanawa Foundation, for which he receive generous mentorship and support is very grateful. from Dame Kiri Te Kanawa and the Kiri Te Kanawa Foundation. Bianca is grateful James Ioelu’s performance is supported to the Hunn Educational Trust, the Dame by Helen Gaeta Malvina Major Foundation and the generous individuals who have made her studies in New Zealand and London possible.

Bianca Andrew’s performance is supported by Eric Johnston and Alison Buchanan

16 apo.co.nz THE FREEMASONS Morag McDowell NEW ZEALAND OPERA Tabatha McFadyen CHORUS Kerry Scurr Emma Sloman Director John Rosser Blaire White Répétiteur David Kelly Mezzo The Freemasons New Zealand Opera Chorus Meghan Carppe is auditioned annually and has around 180 Coleman members in three separate choruses around Laura Harvey the country. Its members are trained and Rowena Janes Post accomplished singers, requiring both the Amy Jansen technique to sing across an orchestra and Helen Kim the ability to perform on an operatic stage. Tamsyn Matchett The Chorus features not only in NZ Opera’s Mary Newman-Pound mainstage productions but also in a wide Charlotte Pridham variety of concerts and special events. It Roseanne Webb has received considerable acclaim for its Tenor performances, with one critic describing it Terry Barry as “absolutely superb, both dramatically and Taunoa Filimoehala musically” and others hailing its “remarkable Lewis Francis singing” and “sharp, incisive work”. Andrew Grenon John Rosser is NZ Opera’s Associate David Hwang Conductor and Chorus Director (Auckland), Bo Jiang as well as founder and Musical Director of Patrick Kelly Viva Voce. In demand as guest conductor, Manase Latu presenter and adjudicator, he chairs the Graham Mandeno New Zealand Choral Federation, is Artistic Michael Potts Director of Sing Aotearoa, and devised and Bryan Wells led the NZCF National Anthem project for Baritone the 2011 Rugby World Cup. Dragan Atanasov Callum Blackmore CHORUS Andrew Conley THE FREEMASONS NEW ZEALAND Jonathan Eyers OPERA CHORUS Rhys Hingston Soprano David Holmes Leila Alexander Ben Kubiak Bernice Austin Richard Olney Lilia Carpinelli Samson Setu Chelsea Dolman Jessica Duirs www.nzopera.com Clare Hood Fiona Li Elizabeth Mandeno

Puccini’s Manon Lescaut 2017 17 Auckland Philharmonia Orchestra FUNDERS AND DONORS

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

PLATINUM

Auckland Council Four Winds Foundation The Wallace Foundation Auckland Philharmonia Foundation Freemasons Foundation William & Lois Manchester Trust Creative New Zealand Pub Charity Limited Adrian Burr Foundation North The Trusts Community Foundation

GOLD

Potter Masonic Trust Stout Trust Audrey Hay The Saint Kentigern Trust Board Trillian Trust Lynley Stewart & Haydn Staples & The Douglas Goodfellow Dame Jenny Gibbs Charitable Trust

SILVER

Auckland Philharmonia Orchestra The Lion Foundation Sir Residuary Friends Manukau Westmere Lodge Estate Concert Trust Charitable Trust Elizabeth & Richard Ebbett Lesley French Estate Maurice Paykel Charitable Trust David & Dian Ross

BRONZE

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

18 apo.co.nz SUPPORTERS CIRCLE

Jack & Liz Alison Sandra Greenfield Mike Nicolaidi & Michael Houstoun Chris & Natalie Allan Una Grieve Humphrey & Gaynor Nisbet Dianne & Jeremy Aubin Robert & Alison Gunn Anne Norris Denver & Prue Olde Auckland Youth Orchestra Joan & John Guthrie Su Peace Anne & Tony Baird Bruce & Wendy Hadden Geoff & Bev Pownall Charline Hamilton Baker Neil & Jane Haines John & Jessica Pybus Anita Banbury Don & Pattie Hargrave Regal Castings Ltd Michael & Judith Bassett Leonard & Dorothy Harris Laurie & Claire Reynolds Beverley Batkin Nigel Harrison Roger Reynolds Kevin Bishop Robert & Hilary Howard Penny & Ralph Roberts Robert & Kathleen Boggie Robert Jenkins Sonja Rosen Hon. John Boscawen Pamela Kean Sylvia Rosevear Jenny Brown Alan Kinnear Adam Ross Mary Brown Robert Kinnear Claire & Peter Bruell Doug & Audrey Leybourne Irene & Michael Rosser Ronald P Bruell Alan & Caroline List Esther Samuel Bruce McLaren Retirement Village Stephen Lloyd Gregory & Vlasta Shanahan Lisa Cathro David Lovell Heather Simpson Pamela Chalmers Jocelyn Lowe Andrew & Jenny Smith Sally Clatworthy Cliff Lyon Judy & Warwick Smith Robert & Margaret Coldham John & Sue Maasland Julian Smith & Craig McAlpine Robert Cox Linda MacFarlane Martin Sowter & Alison Pereira Gary & Julie Craig Stephanie & Dennis Markson Kerry Stevens John & Margaret Cullen Geraint A. Martin & Sam Cliffe Elizabeth Swier Denise Dalziel Joan & David Maxwell Lady Philippa Tait Raewyn Dalziel Beverly McConnell Dame John de Geus Jeanette & Travis McFarland Gwynne Urquhart Jim & Helen Donovan Karen McNeill Janet Watt Wayne Dyer Dame Rosanne Meo John & Kate Welch Paul & Alison Dyson Money Matters Ltd Chloe Wier Robert & Gillian Eady Peter & Barbara Morgan David & Gail Williams Kate Fardell Dr Tom & Ann Morris Stephen & Virginia Fisher Alison Morton Jane Williams Mark & Amber Gatward Robert & Lynne Morton J W Wilson Beverly Gentles Andre & Helene Muller Peter Wilson & Gerda McGechan Barbara Glaser & Richard Panting Melva Murray & Colin Watson Richard & Judy Wingfield Pamela Gould Anna Nathan Jack Greenfield Michael & Adriana Nicholls 56 Anonymous Donors

Listed are all donors who have given since 1 January 2016. Donations by individuals of $5 or more attract a tax rebate of 33.33%. For information about opportunities to support the orchestra please contact Laura Dee, Director of Development, on (09) 638 6266 ext 233 or [email protected]

Puccini’s Manon Lescaut 2017 19 Auckland Philharmonia Orchestra CHAIR DONORS

The Auckland Philharmonia Orchestra gratefully acknowledges the following generous donations to our Chair Donor programme. Chair Donors enjoy a special relationship with individual orchestra players and receive invitations to exclusive events throughout the year. The minimum gift to become a Chair Donor is $4,000 annually.

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

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

PRINCIPAL & TUTTI CHAIRS ($4,000 minimum annual donation) Tony & Deirdre Anselmi Family Trust Stephen & Gail Hofmann Mark Rowley Auckland Philharmonia Orchestra Michael & Dame Rosie Horton Avril & John Ryan Friends Karen Kennedy Gregory & Vlasta Shanahan Leigh & Jennie Auton Jennifer Knutsen Signs Around Town Alex Baker Murray & Jill Lander Andrew & Jenny Smith Charline Hamilton Baker Stephen Lloyd Janet Smith Adrian Burr David Lovell Julian Smith & Craig McAlpine Warren & Sandra Cant MakeReady Ltd Martin Sowter & Alison Pereira Barry & Trish Clapham Marshall Day Acoustics Lindsay & Janet Spilman Robert & Louise Clark Geraint A. Martin & Sam Cliffe Rua & Clarrie Stevens Charitable Stephen & Laura Dee Dame Rosanne Meo Trust Paul & Alison Dyson Dr Tom & Ann Morris Brian & Pam Stevenson Richard & Elizabeth Ebbett Robert & Lynne Morton Haydn Staples & Lynley Stewart Charles & Tana Fishman Anna Nathan Dame Adrienne Stewart Richard Frechtling & Carole McIntosh Denver & Prue Olde Belinda Vernon Mark & Amber Gatward Penelope Peebles & James Penelope Weber Barbara Glaser & Richard Panting Sutherland Mike & Debbie Whale John Griffiths Ralph & Penny Roberts Peter Wilson & Gerda McGechan Richard & Lois Hadfield Sylvia Rosevear Neil & Jane Haines David & Dian Ross 2 anonymous donors

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

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

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

June Allen Judy Ganley John & Jessica Pybus Dr Ian Ball Roger Giese Carolyn Reid Carol & Alan Best Barbara Glaser Claire Reynolds Kevin Bishop Jean Glenister Julia Reynolds John Boscawen Pamela Gould Sylvia Rosevear Canterdale Trust Lois & Richard Hadfield David & Dian Ross Angela Caughey Graeme & Margaret Hitch Stewart & Pauline Rundle Pamela Chalmers Robert & Hilary Howard Gordon & Madeline Stern Kath Cherney Eric Johnston & Alison Buchanan Ian Stevenson Barry Clapham Frank Jones Anne Stewart Tom Darrington Liggins Family Trust Garrick Stuckey C L Davidson Ken & Pat Meiklejohn Elizabeth Swier Christopher Devereaux Pamela Melding Sir James Wallace Ed & Una Dowding Darryl Milner Peter Wilson & Gerda McGechan Robert G Eady Dr Tom & Ann Morris Lynette Youlden Richard & Elizabeth Ebbett Denver & Prue Olde

Graeme Edwards Jackie Pittman There are further 45 anonymous Robert & Anne Feigel Dame Judith Potter promised bequests.

The Auckland Philharmonia Foundation gratefully acknowledges recent bequests advised and received from the estates of Margaret Forde, Richard Ratcliffe, Barbara Jackson, Mary Mark-Brown, Lesley French, Gwendolen Lang, Susan Middleton, Marin Segedin and Sylvia Hilton, and donations from Kevin Bishop and anonymous donors. The Foundation also gratefully acknowledges the gift of the Ikebana International Auckland Trust, 2008–2017. For information about leaving a gift in your will to the Auckland Philharmonia Foundation please contact Rachel Jefferies, Trusts & Foundations Manager, on (09) 623 5628 or [email protected]

Puccini’s Manon Lescaut 2017 21 Auckland Philharmonia Orchestra BOARD AND SOCIETY

PATRONS AUCKLAND AUCKLAND Dame Kiri Te Kanawa, DBE, ONZ PHILHARMONIA PHILHARMONIA ORCHESTRA BOARD Dame Catherine Tizard, GCMG, ORCHESTRA GCVO, DBE, ONZ, QSO Geraint A. Martin (Chairman) SOCIETY EXECUTIVE Sir James Wallace, KNZM, ONZM Penelope Peebles (Deputy Chair) COMMITTEE Secretary Carl Wells Dame Rosanne Meo, DNZM, OBE Leigh Auton Richard Ebbett Chairperson Huw Dann VICE PATRON Neil Haines Mark Bennett Dame Jenny Gibbs, DNZM Kieran Raftery Bridget Miles Eric Renick Tim Sutton Julian Smith Sue Wedde

AUCKLAND PHILHARMONIA ORCHESTRA SOCIETY LIFE MEMBERS Christopher Blake Christine McLaren Gwen Skinner

Adrian Burr Paul McLaren Brian Stevenson, ONZM Trevor Crawford Dame Rosanne Meo, DNZM, OBE Philip Sumner Chris Devereaux James Morton David Taylor Victor Double Maryanne Mummery Barry Ensor Sean Murphy James Tennant Stephen Fisher Denver Olde Alan Topham, OBE Graeme Hitch Helen Palmer Don Turkington

John Hopkins John Peebles John Ure, MNZM Richard Horne Carolyn Reid Michael Weir Kenneth Hutchings David Ross Lloyd Williams Stanley Jackson Peter Scholes Wayne Laird Gregory Shanahan Peter Wilson, ONZM Keith Langton Vlasta Shanahan David Woodbridge

22 apo.co.nz Auckland Philharmonia Orchestra ADMINISTRATION

GENERAL Assistant Accountant Stephanie Ticketing & Subscriptions MANAGEMENT Shen Assistant Blair Cooper Accounts Administrator/Payroll Chief Executive Barbara Glaser Stephanie Dixon DEVELOPMENT PA to CEO/Receptionist Katie Accounts Assistant/Tessitura Director of Development Laura Deller Implementation Coordinator Dee ARTISTIC Wynn Riechelmann Trusts and Foundations Manager Rachel Jefferies Director of Artistic Planning BUSINESS Annual Giving Programmes Ronan Tighe PARTNERSHIPS Executive Caitlyn Westbrooke Orchestra Manager Wendy AND MARKETING Development Coordinator Gardiner Director of Business Partnerships Lauren Garrett Librarian Robert Johnson & Marketing/Deputy CEO Artistic Administrator Sam Torrens Stuart Angel APO CONNECTING Artistic Coordinator Debbie Marketing Manager Tracey Director of APO Connecting Nicholson Holdsworth Thomas Hamill Deputy Librarian Charlotte Francis Publicist & Communications APO Connecting Producer Assistant Orchestra Manager Manager Tiana Lyes Claudia Ruff Amber Read Acting Publicist Siobhan APO Administrative Assistant OPERATIONS Waterhouse Natasha Pearce Assistant Marketing Manager Inspire Facilitator Chelsea Wong Director of Operations Paul Christ Helen Spoelstra Production Supervisor Stuart Business Partnerships SISTEMA AOTEAROA McCann Executive Linda Dallimore Programme Manager Sistema Deputy Production Supervisor Business Partnerships & Aotearoa Rosalind Giffney Adrian Raven Marketing Executive Rahul Patel Music Director Jess Hindin Digital Marketing Coordinator BUSINESS SERVICES Programme Support Assistant Artur Aldridge Bleau Bustenera Director of Business Services Marketing Coordinator Tabatha Heather Wallace McFadyen

Auckland Philharmonia Orchestra FOUNDATION

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

Puccini’s Manon Lescaut 2017 23 Auckland Philharmonia Orchestra CRESCENDO

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

Auckland Philharmonia Orchestra FRIENDS

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

PRESIDENT SECRETARY Bryce Bartley Anne Norris

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

24 apo.co.nz Auckland Philharmonia Orchestra SPONSORS

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

PLATINUM

GOLD

SILVER

BRONZE

Adrian Malloch Photography Karajoz Coffee Scarecrow – deli, café & florist Artedomus (NZ) Ltd Marshall Day Acoustics Waiwera Water Impressions International Meadow Mushrooms John Picot – Picot Technologies Orongo Bay Homestead

Puccini’s Manon Lescaut 2017 25 AUCKLAND PHILHARMONIA ORCHESTRA

PO Box 7083 Wellesley St Auckland 1141 Auckland Town Hall 301-303 Queen Street Auckland 1010 Phone (09) 638 6266 APO Ticketing (09) 623 1052

apo @ apo.co.nz apo.co.nz facebook.com/aporchestra @aporchestra aporchestra