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KATYA PRESENTS KABANOVASilver See behind-the-scenes footage, read about the cast and learn more about .

nzopera.com KATYA KABANOVA

Auckland Opera in three acts by Leoš Janáček. ASB Theatre, Aotea Centre by Leoš Janáček, adapted 16, 21, 23 September at 7.30pm from Vincenc Červinka’s translation 19 September at 6.30pm of ’s play . St James Theatre The first performance was at the 7, 12, 14 October at 7.30pm National Theatre (Národní divadlo 10 October at 6.30pm v Brně) in on 23 November 1921.

A production. Performed in Czech with English surtitles. The performance lasts approximately two hours including a twenty minute interval.

These performances of Kátya Kabanová by Leoš Janáček (edited by: Sir ) are given by permission of Hal Leonard Pty Ltd, exclusive agents for Universal Edition A.G of Vienna Please Note: Information is correct at the time of printing. The management reserves the right to make alterations to the cast as required due to unavoidable circumstances. Use of cameras, cellular phones and recording devices is strictly prohibited. Latecomers will not be admitted until a suitable break in the performance.

3 WE ARE PROUD TO BE SUPPORTING THE FREEMASONS OPERA CHORUS

www.freemasonsfoundation.org.nz Welcome

Stuart Maunder, General Director

When I took up this post in 2014 I told all who would Director Patrick Nolan is no stranger to these shores, listen that one of the reasons I admired the work of New having created memorable Zealand Opera was its proud tradition of pushing the productions of La bohème and . His envelope when it came to programming; no complete contemporary take on Kátya Kabanová with designs by reliance on the ‘Top 10’, always a desire to reinterpret Genevieve Blanchett, who also created our evocative the great operatic canon and to mix it up with some Onegin, was first performed to rave reviews at Seattle pieces that were a bit out of left field like Boris Godunov, Opera in February this year. We are pleased to be able Xerxes, , and Jenůfa to name to partner with Seattle Opera to bring this devastating but a few. I’m delighted to continue that tradition as we work to New Zealand audiences. present one of the great of the 20th Century - Leoš Janáček’s Kátya Kabanová. And who better to conduct our performance partners and the New Zealand In the hands of our brilliant ensemble, Janáček’s powerful Symphony Orchestra than our Director of , Wyn work is as devastating as it is beautiful. As the tragic Davies - a great champion of Janáček and a tremendous Kátya, we’re delighted to welcome the radiant Russian- musical force. American , a role in which she has wowed both audiences and critics alike. Playing her After the tsunami of emotion that is Kátya Kabanová we lover Boris we present the debut of a singer look forward to welcoming you to our 2018 season; who cut his operatic teeth with Canterbury Opera, a season of young love in all its thrilling, maddening, returning triumphantly to sing Pinkerton in our 2016 heart-wrenching wonder. production of in : Angus Wood. We welcome back much-loved New Zealand See you at the opera. operatic stars Margaret Medlyn and as two of the most morally questionable characters in all opera. Australian Hayley Sugars makes her New Zealand Opera debut as Varvara, and we also see the welcome return of some of our younger generation of singers; Andrew Glover, James Benjamin Rodgers and Robert Tucker.

5 , New Zealand Opera (2017) Photo: Marty Melville Proud NewZealand tosupport Opera PROUD TO BE CREATIVE PARTNERS WITH NZ OPERA.

bcg2.com leoŠ JanÁceK

Janacek and his wife, Zdenka Schulzová

Kamila Stösslová

Leoš Janáček

8 Leoš Janáček was one of a kind. This ’s utterly 1910s and ’20s. Instead, he appreciated the beauty individual sound, once heard, is never forgotten. Some of the many musical modes available in Slavic folk fall in love at first hearing; others find Janáček’s music music and became obsessed with how words naturally quirky, irregular, an acquired taste. He was humble, transform into music in folk . He developed an honest, spiritual, not to mention uncompromising, extremely personal way of setting text to music, which irascible, stubborn, and difficult to live with. He would you’ll hear in his operas. have lived his entire life in provincial obscurity had his genius not suddenly flowered in old age, inspired by his Janáček’s family life was troubled. A bit of a workaholic, passionate platonic love for a young married woman. he married a young piano student; but they were never This unexpected love affair freed his spirit, and old particularly happy together, and after both their children Janáček composed a series of brilliantly original operas died, their relationship disintegrated. (Janáček’s powerful that have travelled from his small Eastern European opera Jenůfa, written in 1903 as his 20-year-old village to every corner of the world. daughter was dying, explores the catastrophic loss of a child; but it wasn’t performed at the important theatre in When Janáček was born in 1854, Czech music was for a dozen years because Janáček had managed coming out of the long shadow cast by the powerful to insult the theatre director.) The composer and his wife musical tradition in nearby Austria and Germany. In discussed divorce but chose instead to live separate lives operas such as Smetana’s Bartered Bride (1866) and in the same house. When he was 63, Janáček fell madly Dvořák’s (1901), Czech finally began in love with Kamila Stösslová, a 25-year-old married creating operas with a distinctly Czech sound which woman with two sons. Although she never requited his could thrill audiences at any theatre in the world. These obsessive , they became close friends, much appealing, tuneful works rely on folk culture and draw on to the annoyance of Janáček’s wife (Kamila’s husband the spirit of Czech folk music. didn’t mind). Janáček’s love for Kamila inspired three remarkable characters in his late operas: Kátya But Janáček wanted to go beyond a vague Romantic Kabanová, in an opera also inspired by his love for all ideal of nationalistic folk culture. He considered himself things Russian; the Vixen, in , also not Czech, but specifically Moravian, and spent much of inspired by his deeply spiritual love of nature; and Emilia his adult musical life (when he wasn’t playing the organ Marty, in The Makropulos Case. He died in 1928, Kamila or teaching music in Brno) researching and transcribing by his side, of pneumonia which developed from a chill traditional Moravian music. His own distinctive sound he caught looking for Kamila’s son in the forests near his developed from what he learned - not from German village of Hukvaldy. teachers in Leipzig and Vienna, where he wasted several years as an unteachably anti-authoritarian student - but Sections of this article were originally published by Seattle Opera © 2017 from his findings in the Moravian countryside. Western was dominated by major and minor, two of seven possible modes available to Western instruments. Janáček was uninterested in limiting himself to major and minor, and also uninterested in atonality, an alternative that started to become fashionable in the

9 small toWn, BiG music

Somewhere water laps the shores of a seemingly idyllic contemporary issues in his social drama. Janáček, small town. Some can’t get enough of the dazzling view, however, saw the universal possibilities, the human the peace and possibility; others have a very different journey at the core of Ostrovsky’s story. What’s more, experience. One woman is feeling trapped, tired of a he knew that music would inevitably transform realistic marriage that isn’t working, frustrated by a community local detail into something almost mythic. The composer that asks little and offers less. Like any prisoner, she will refashioned a Czech translation of the play into the exact seek escape. libretto he needed to write one of twentieth-century opera’s most compelling tragedies. Kátya Kabanová could indeed happen anywhere. Brokeback Mountain set a similar story in the western In adapting Ostrovsky’s play, Janáček tightened the focus US, Far From Heaven in the east. Czech composer Leoš on Kátya, only one of many intriguing characters in The Janáček based his opera on a play with a very specific Storm. He deleted much and re-ordered the scenes, so cultural context: The Storm by Alexander Ostrovsky, set that Kátya’s experience of love and sex is framed by the in the small Russian town of Kalinov, along the mighty casual affair of Varvara and Kudrjas, on the one hand, Volga, in the mid-nineteenth century. From his urban, and the grotesque liaison of Kabanicha and Dikój, on the intellectual life in , Ostrovsky had traveled the other. Kátya, her husband, and her lover are neither as entire length of the river and was responding to specific simple as the former, nor as ridiculous as the latter.

10 In Kabanicha and Dikój, Ostrovsky was satirizing tell the story (rather than Kuligin). Not only does the specifically Russian types: the autocratic matriarch and orchestra feel everything Kátya feels at each moment of the samodur or unpredictable petty tyrant. Neither of her story, the orchestra extends that compassion to us: these disagreeable characters has the stature of real in the music we hear all her frustration, longing, anxiety, villains; they’re more akin to the clowns of commedia bliss, crushing guilt, pain, and emptiness. dell’arte, universally recognizable despite very specific local origins. Building on his experience writing satire Janáček made one other telling change to the structure in his previous opera, The Excursions of Mr. Brouček, of the piece. In the play, Kátya does indeed beg her Janáček renders Dikój’s boorish galumphing and pushover husband to demand from her a solemn oath Kabanicha’s shrewish nagging precisely in music. But that she won’t look at other men while he’s out of town, unlike Brouček, Kátya Kabanová is no comedy. It’s dark with as little result. But in the opera, she does so before even for Janáček, and these two appear all the nastier her mother-in-law compels Tichon to make the same because of that darkness. Audiences may be inclined to demand, not after. Kabanicha, concerned as ever with agree with Tichon at the end, when he tells Kabanicha, tradition and keeping up appearances, considers such an “You’re the one who killed her!” But that’s way exchange the proper formality: of course a husband must overstated. Tichon not only bungles his life, marriage, lay down the law before he parts from his wife. Kátya, and family, he even gets the moral of his story wrong. however, has a burning human need for her husband to show her some sign of affection. Does he not value her at If it’s almost too easy to hate Kabanicha and Dikój, it’s all? Wouldn’t he mind if she took a lover? Her longing for almost too easy to like Varvara and Kudrjas. Janáček love is so extreme, she’d even accept an old-fashioned stacks the deck in this younger couple’s favour by giving chest-thumping display of patriarchal possessiveness as them the opera’s most hummable tunes, catchy folk a gesture of love. By repositioning this scene, Janáček full of the pungent eastern modal flavours the composer makes it clear that Kátya’s problem isn’t so simple, so had spent much of his career collecting and studying. But external, as having an awful mother-in-law. Her problem if he wasn’t writing a comedy, he wasn’t writing a folk is internal; her awful mother-in-law only repeats what opera, either. (Folk operas had been popular in Czech- she has already said. Kátya already has her own inner speaking Bohemia and Moravia a generation earlier.) By Kabanicha. giving this appealing young couple folk music, Janáček characterizes their relationship as uncomplicated, What can she do about it? She can’t turn that voice off; attractive, and impersonal. They represent hookup it’s part of her. If she were to turn it outwards, she might culture, easy-come easy-go couplings in which no real learn how to compel and extort Tichon’s love the way feelings are risked. his mother does. But by doing so her humanity would be silenced. She’d have to become the next Kabanicha, Nobody in Janáček’s little world feels as deeply as Kátya an empty shell of a person, defined by social status and herself. Janáček sharply diminished the role of Kuligin, hierarchy and dominance, not by the music that plays so who’s the moral center of Ostrovsky’s play, the Tevye beautifully inside her. Instead, Kátya chooses the music. of this Anatevka: an idealized Everyman, spokesman for the playwright’s social criticism. Less interested in Jonathan Dean is Dramaturg at Seattle Opera. This article was originally printed in Seattle Opera’s program for Kátya Kabanová. social critique, Janáček made his extraordinary orchestra

11 The Professional Choice

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Creative Production Team

Conductor Wyn Davies Production Manager Bonnie Burrill Director Patrick Nolan Company Manager Jacqueline Coats Production Designer Genevieve Blanchett Stage Manager Lucie Camp Lighting Designer Mark Howett Deputy Stage Manager Youra Hwang Associate Conductor Michael Vinten Assistant Stage Manager Elise Caldwell Assistant Director Jacqueline Coats Head Mechanist Andrew Gibson Head of Lighting Nigel Percy Music Lighting Operator Alex Fisher Head of Wardrobe Sophie Ham Répétiteur David Kelly Wardrobe Supervisor Vicki Slow Language Coach Lada Valesova, Adriana Hanic Wardrobe Room Supervisor Holly Leighton Chorus Director John Rosser(A) Wardrobe Assistant Sarah O’Brien Chorus Director Michael Vinten(W) Head of Wigs & Makeup Charlie Oswin Head of Projection Simon Barker Cast Surtitles Brian Fitzgerald Kátya Kabanová Dina Kuznetsova Surtitle Operators Christine Pearce & Jim Pearce(W), Boris Angus Wood Claire Caldwell(A) Dikój Conal Coad Kabanicha Margaret Medlyn Special Thanks Tichon Andrew Glover Kudrjas James Benjamin Rodgers Te Whaea: New Zealand National Dance and Drama Varvara Hayley Sugars Centre, Entertainment Production Services, Lotech Kuligin Robert Tucker Media, Multi-Media Systems Ltd, Kiwi Krew Roadies Glasha Emma Sloman* and Crewing Ltd. Feklusha Emma Roxburgh*(A), Linden Loader(W)

* Freemasons New Zealand Opera Artist

13 the storY

ACT I

Scene 1: Outside the Kabanov house, afternoon Kudrjas, a science teacher, admires the beauty of the river. The servant Glasha is unimpressed. Dikój arrives, rebuking his nephew Boris for his laziness. He leaves when he learns Kabanicha, the matriarch of the household, is not at home. Left alone with Kudrjas, Boris explains he only stays with his uncle because of a provision in his grandmother’s will: if he and his sister are to claim their inheritance, they must respect their uncle and do as he says. Boris also admits to Kudrjas he has fallen in love with Kátya Kabanova, wife of Tichon Kabanov.

When the Kabanov family returns from church, Kabanicha orders her son, Tichon, to leave at once for the market in a nearby city. She complains that he neglects her for his wife, Kátya, and rebukes Kátya when she dares to answer. Varvara, Tichon’s younger adopted sister, criticizes him for drinking too much and not defending his wife from his mother’s attacks.

Scene 2: Inside the Kabanov house, afternoon Kátya tells Varvara of her happy childhood. Varvara encourages Kátya to talk about her dreams. Kátya says she hears a man’s voice whispering in her ear, urging her to run away with him. Tichon appears, about to leave for market as his mother has ordered. Kabinicha insists that Tichon lay down the law for Kátya before he leaves: she must respect and obey Kabanicha and not look at other men.

14 ACT II ACT III

Scene 1: Inside the Kabanov house, late afternoon Scene 1: Two days later, outside a ruined church Kabanicha reproaches Kátya for not making a show of overlooking the river grief at Tichon’s departure. Once Kabanicha has left Seeking shelter from a storm, Kudrjas and his friend the room, Varvara reveals she has stolen the key to the Kuligin notice old paintings of hell and the damned still garden gate; she tells Kátya she will ask Boris to come visible on the ruined wall of a church that burned down. to the garden. Kátya nervously takes the key, hurriedly Dikój arrives to take shelter. Kudrjas thinks the storm hiding it when Kabanicha re-enters with Dikój, who is is “just electricity,” while Dikój considers the storm a drunk. punishment from God.

Scene 2: Outside the Kabanovs’ garden gate Varvara tells Boris that Tichon has returned unexpectedly, Kudrjas arrives in the garden, waiting for Varvara. Boris prompting Kátya to become hysterical. Other townsfolk, arrives, hoping to meet Kátya. Kudrjas warns him of the including Kabanicha and Tichon, soon gather, seeking risks involved. Varvara tells Boris that Kátya is coming, shelter from the storm. Arriving panicked, Kátya publicly and then goes off with Kudrjas toward the river. Kátya confesses her infidelity. She rushes out into the storm. soon arrives. Boris declares his passion. Kátya is guarded but ultimately concedes her impassioned feelings for him. Scene 2: On the banks of the river Kudrjas and Varvara tell them it’s time to separate. Kátya Tichon and Glasha are searching for Kátya. Varvara goes back through the gate, leaving Boris behind. and Kudrjas decide to run away together to the big city. Kátya enters alone. Confused, she regrets her confession and longs for death. Boris arrives and tells her that his uncle is sending him away. Kátya will remain at the mercy of her mother-in-law and drunken husband. Boris leaves and Kátya imagines her grave. Crossing her arms, she throws herself into the river. A search party enters, and Dikój arrives with Kátya’s corpse. Tichon blames his mother for Kátya’s death. Kabanicha thanks all the neighbours for their kindness.

15 Kátya Kabanová, Seattle Opera (2017) Photo: Philip Newton

16 creatiVe team

Wyn Davies Patrick Nolan Jacqueline Coats Conductor Director Assistant Director

Proudly supported by the Friedlander Foundation Patrick works in opera, theatre and outdoor Proudly supported by Chapman Tripp Wyn Davies works extensively as a performance, creating and presenting Jacqueline studied theatre performance at conductor and teacher. He has been performances around Australia and the the University of Idaho under a Rebecca Director of world. His productions are presented in L Lynch Scholarship. She gained a Master Opera since 2005 and was formerly major festivals, opera houses, theatres, and of Theatre Arts in Directing from Victoria Director of Music for Carl Rosa Opera. on city streets. University of Wellington and Toi Whakaari: Opera repertoire includes La Traviata, La NZ Drama School. Cenerentola, The Italian Girl in Algiers In January 2015, his contribution to (also ), Jenůfa, , the Australian performing arts was Jacqueline has directed numerous opera , (also Tokyo) acknowledged with an Australia Council productions including: Così fan tutte (tour with New Zealand Opera; La bohème, Fellowship. This supported research into for Wanderlust Opera); Don Pasquale, The Spanish Hour, , large scale outdoor performance and the Elixir of Love, Janáček Cycles (also Scottish Opera), relationship between extreme physicality (adaptations for NZO Opera in Schools L’incoronazione di Poppea, Eugene Onegin and storytelling. tours), Noye’s Fludde (NZO); This Other (); The Magic , Eden (Best Director, Theatre The Barber of Seville, with From 2009-2014 Patrick was Artistic Awards), Orfeo, Così fan tutte, Larnach, ; The Cunning Little Director of pioneering Australian physical Salieri’s Falstaff (Opera Otago); The Magic Vixen, Love Life, Of Thee I Sing, Show theatre company, Legs On The Wall, Flute (Opera Hawke’s Bay); The Cunning Boat (UK tour) with Royal Shakespeare and later this year he will join Opera Little Vixen (NIMBY Opera); , Company; The Secret Marriage, The Queensland as Artistic Director. Saint Nicolas (various); and 10 chamber Barber of Seville, Madama Butterfly, La operas (Sirius Opera). Theatre Director voix humaine, Dido & Aeneas with Opera His opera credits include: La bohème, and credits include: Lines from the Nile (NZ North; , Blue Beard, Il Turco Eugene Onegin (New Zealand Opera); Fringe, Best Music production); DnA (STAB in Italia, The Beggar’s Opera (also Lyric Kátya Kabanová (Seattle Opera); Notes – Bats Theatre, nominated for Chapman Belfast), Véronique with Buxton Festival. from Underground by Jack Symonds Tripp award for Most Original Production); ( Chamber Opera); A Flowering Bent (Phoenix Theatre, won Chapman Tripp His orchestral engagements include Tree by John Adams (Perth Festival); award for Most Original Production); Much Hallé Orchestra, L’Orchestre Royal de Acis and Galatea, , Il Ado About Nothing, The Taming of the Chambre de Wallonie, Scottish Chamber Combattimento di Tancredi e Clorinda, Shrew (Wellington Summer Shakespeare); Orchestra, BBC National Orchestra of Eugene Onegin and Pellèas et Mèlisande The Revenge of the Amazons (Bats Theatre); Wales, BBC Scottish Symphony Orchestra, (); world première of Love Home (Arts On Tour), and most recently English Chamber Orchestra, Auckland in the Age of Therapy by Paul Grabowsky a national tour of Songs of the Sea for Philharmonia Orchestra, A Child of our and Joanna Murray-Smith at Sydney and Captial E National Theatre for Children. Time with the New Zealand Symphony Festivals; Così fan tutte, The Orchestra, National Youth Orchestra and Marriage of Figaro and Dialogues of the Sponsor of New Zealand Opera’s Director National Youth Choir. Carmelites (Sydney Conservatorium). Development Programme.

17 Cast

Genevieve Blanchett Mark Howett Dina Kuznetsova Production Designer Lighting & Digital Designer Kátya Kabanová

Genevieve works across performance, Theatre, dance, opera and film director, Proudly supported by Sir James Wallace urban design, and public art, and holds a Australian Mark Howett goes back to his Noted for her exceptional musicianship Masters of Urban Design and Development lighting designer roots for Kátya Kabanová. and captivating stage presence, Russian- (UNSW), a Bachelor of Design in American soprano Dina Kuznetsova is an Architecture (USYD) and a Bachelor of A senior creative on West End productions: alumna of the Lyric Opera of Chicago’s Design in Theatre (NIDA). Cabaret and Dreams and Petticoats (Savoy young artist programme and has gone on to Theatre); Evita (Dominion Theatre); A sing at some of the world’s most prestigious Genevieve is an alumna of the Global Country Girl (Apollo Theatre), Three Days opera houses including the Royal Studio, a / USYD in May and A Daughter is a Daughter Opera House , Wiener participatory design studio that works with (Trafalgar Studios); and Staatsoper, Bayerische Staatsoper and The global communities to devise grassroots (Royal Opera, Covent Garden); Rites . initiatives that address urban poverty. She with Bangarra and Australian Ballet (Paris regularly consults with Sticky Situations, Opera House); and The Secret River with Roles such as Gilda, Violetta and Juliette a South African community development Sydney Theatre Company. featured strongly in Dina Kuznetsova’s organisation, on arts-based development earlier career, but in most recent years and capacity building projects. Mark was Cinematographer Lighting she has developed towards the Slavonic and Vision Designer with The Australian and Russian repertoire which has become She has designed sets and costumes Arts Orchestra’s Kura Tunga, which won central to her current schedule. Recent role for many of Australia’s leading theatre the Helpmann Award for Best Presented debuts have included Kátya Kabanová for companies, including the Sydney Theatre Concert in 2005. In that year he also Teatro Municipal de Santiago de Chile Company, Company B Belvoir, State directed and co-wrote a short film, Gangu and Staatsoper Hamburg, Rusalka for the Theatre Company of South Australia, Mama. Glyndebourne Festival under Sir Andrew Shakespeare Company, Queensland Davis and in Montpellier, Desdemona Theatre Company, Melbourne Theatre Awards for Lighting Design include the () with the Gulbenkian Orchestra Company and Griffin Theatre Company. Helpmann Award for Cloudstreet in under Lawrence Foster and Lisa: Pique Internationally, Genevieve has designed 2002, Greenroom Award The Love of Dame with the Sydney Symphony Orchestra productions for Seattle Opera, New Three Oranges (Opera Australia) 2006, under Vladimir Ashkenazy. This season Zealand Opera, the Druid Theatre Greenroom Award for Roadkill (The Farm) Dina makes an anticipated debut as Jenůfa (Galway), and the Festival. 2009, Greenroom Award for Secret River in Jorge Lavelli’s production for Teatro (Sydney Theatre Company) 2017. Municipal de Santiago de Chile, as well as Recent design projects include Notes from returning to the roles of Tatyana (Eugene Underground (Sydney Chamber Opera at Mark is a founder of Queensland’s The Onegin) for Florida Grand Opera and Carriageworks); strategic cultural planning Farm, a collective of dance and theatre for the Bolshoi Theatre in Richard for Gosford City Council (Architectus); artists which has toured productions to Jones’ production under Christopher and outdoor event design for the City of international festivals. He is currently the Moulds. Sydney. Artistic Director for Ochre Contemporary Dance Company in Western Australia.

18 Angus Wood Conal Coad Margaret Medlyn Boris Dikój Kabanicha

Angus Wood studied singing and Proudly supported by Dame Jenny Gibbs Supported by the New Zealand Opera Foundation completed his Bachelor of Music (Honours) Fielding-born, Conal Coad began his through a bequest from Peggy Hutchings and the Les & Sonia Andrews Cultural Foundation. at the University of Melbourne and his training in Auckland before joining Opera Margaret Medlyn is one of Australasia’s Master of Music at the University of Australia as a young artist. For over 40 finest singers, with highly acclaimed Michigan, Ann Arbor. years he has performed with major houses performances in opera, oratorio and throughout the world including Royal Opera recitals. In 2012 Margaret was appointed His operatic roles in Australia and New House , Washington, Hamburg, an Officer of the New Zealand Order Zealand have included: Cassio: Otello, Madrid, Lisbon, Naples, Venice, Bologna, of Merit for services to opera in New Aeneas: Dido and Aeneas and Eisenstein: New York, Brussels, Geneva and Paris. Zealand. Margaret has sung for English Die Fledermaus with Opera Australia; National Opera, Covent Garden, Vienna Cavaradossi: , Pinkerton: Madama His extensive repertoire includes all the State Opera and opera companies in Butterfly and Turiddu: major Donizetti and Rossini comic Australia, including Opera Australia. for West Australian Opera; Pinkerton for roles and the Verdi and Strauss bass roles. Previous roles include title role in , New Zealand Opera; Alfredo: La traviata, Conal is also a specialist in the roles of Marie: , Agathe: Der Freischütz, Edgardo: and , particularly ‘Bottom’ Giorgetta: and Leonore: Il Cavaradossi: Tosca for Canterbury Opera. and ‘Dansker’ which he sings frequently trovatore (Opera Australia); Maddalena His concert engagements have included throughout the world, most recently for the di Coigny: Andrea Chénier and Leonore: performances with the Melbourne, Sydney, this June. (Opera Queensland); Leonore: Tasmanian and West Australian Symphony Il trovatore and Kundry: (State Orchestras, the Australian Brandenburg Conal performs regularly in concert in Opera of South Australia); title roles in Orchestra and the Sydney Philharmonia Japan, Australia and . New Zealand , Tosca and (New Zealand Choirs. audiences have seen him in Turandot, Lucia Opera); Judith: Duke Bluebeard’s Castle di Lammermoor, , Die Meistersinger (Auckland Philharmonia Orchestra and Recently relocated to the United States, von Nürnberg, Don Giovanni, Kátya Orchestra Wellington); title role in Salome Angus was a resident principal artist at Kabanová, L’heure Espagnole, Don for Brisbane Festival; Kundry (Parsifal) the Hessisches Staatstheater, Wiesbaden, Pasquale, Falstaff and most recently in The with New Zealand Symphony Orchestra the Anhaltisches Theater in Dessau and Bartered Bride. in the New Zealand Festival of the Arts; at the Theater und Orchester Heidelberg, and Isolde for Welsh National Opera’s and guest performer throughout Recordings include Mozart Bass Arias . Recent engagements Germany, Austria and Switzerland (Polygram/ABC Classics), New Zealand at include Verdi’s with NZSO, the where his roles included Tamino: Die Covent Garden (Kiwi Pacific Records)‚ solo in ’s Relict Furies, Jocasta Zauberflöte, Radamès: Aida, Don José: Mozart Opera Arias (Polygram/ABC in in the New Zealand Carmen, Cavaradossi: Tosca, Golitzin: Classics) and My Beloved Father. DVD’s International Arts Festival and Fricka in Die Chowantschina, Ricardo: Un Ballo in include title role in Don Pasquale, Leporello Walküre with NZSO. Maschera, Pelleas: Pelleas et Melisande in Don Giovanni, and Timur in Turandot. and the Prince: Rusalka.

19 Andrew Glover Hayley Sugars James Benjamin Rodgers Tichon Varvara Kudrjas

Supported by the New Zealand Opera Foundation Mezzo-soprano Hayley Sugars was a Supported by the New Zealand Opera Foundation through a bequest from Peggy Hutchings and the Les member of Opera Queensland’s Young and through a bequest from Peggy Hutchings and the Les & Sonia Andrews Cultural Foundation. & Sonia Andrews Cultural Foundation. Developing Artist Program from 2007- Based in Brussels, Andrew Glover was Born in Wellington, New-York based 2009. Roles for the company have included born in New Zealand and studied drama, tenor James Benjamin Rodgers has Cherubino in Le nozze di Figaro, Flora dance and singing at the Unitec School appeared with The Ravinia Festival, The Belvoix in La traviata, Gladys Moncrieff in of Performing and Screen Arts. He made MDR Sinfonieorchester in Leipzig, The Kurt Waltzing Our Matilda, the Secretary and his debut with New Zealand Opera in Il Weill Festival, The Argento Ensemble, The the Nurse in , Suzuki barbiere di Siviglia. A 2004 PwC Dame Merola Opera Program, Toledo Opera, in Madama Butterfly, Prince Orlofsky in Die Emerging Artist, Andrew , The Theatre Workshop of Fledermaus and the understudy of the title studied at the Australian Opera Studio, Nantucket, New Zealand Opera, The Little role of Rossini’s La Cenerentola. In 2010 graduating with Dux and Honours. He has Orchestra Society of New York, The Otago Hayley won the German-Australian Opera appeared in operas for English Touring Arts Festival, The Mac-Haydn Theatre, Grant, which resulted in contracts with Opera, Opera Holland Park, The Beijing Modern Music Festival, The the Hessisches Staatstheater Wiesbaden and . Andrew was Orpheus Choir, The Banff Centre and The and the Landestheater Coburg. While in recently called to step in at the last minute Paul Dresher Ensemble. Germany, Hayley performed some 15 at House, Covent Garden, roles, including Donna Elvira in Mozart’s making his debut as Beppe in . Previous New Zealand Opera roles include Don Giovanni, the title role in Handel’s Goro in Madama Butterfly (2013 & 2015), Rinaldo, Rosina in Rossini’s Il barbiere Andrew Glover has a busy concert diary Spoletta in Tosca (2015), Anthony Hope in di Siviglia, Varvara in Janáček’s Kátya giving recitals, performing with ensembles Sweeney Todd (2016) and Remendado in Kabanová, Flora Belvoix in La traviata, and in oratorio. He has sung with the Carmen (2017). Mirabella in Strauss’ Der Zigeunerbaron Tokyo New Philharmonic Orchestra, City and Suzuki in Puccini’s Madama Butterfly. of Cardiff Symphony Orchestra, New James is a passionate advocate of the art Most recently, Hayley has performed Zealand Symphony Orchestra, Christchurch song repertoire and a champion of new Valencienne in as part Symphony Orchestra, Perth Orchestra, music and in 2014 released his debut of the Queensland Music Festival and Tonbridge Philharmonic Orchestra, – Exiled: The Evolution of Kurt Weill. appeared as a soloist in a collaborative Auckland Chamber Orchestra, and the Little In the same year he made his directorial project between Opera Queensland and Baroque Company. Future engagements debut in Sondheim’s Putting It Together and Expressions Dance Company called Mozart include his return to English Touring Opera has gone on to direct productions of Albert Airbourne. to perform the roles of Tinca and Gherardo Herring, Don Giovanni and The Rape of in the double bill of Il tabarro and Gianni Lucretia. He holds degrees from Victoria Schicchi. University and the Manhattan School of Music.

20 Robert Tucker Emma Sloman* Emma Roxburgh*(A) Kuligin Glasha Linden Loader(W) Feklusha

Born in Australia and raised in Dunedin, Emma Sloman is a versatile performer and Emma Roxburgh Robert Tucker completed a is a current Freemasons NZO Artist and Emma graduated from the University of Bachelor of Music at the University of former PwC Dame Malvina Major Emerging Otago with a BA and BMus (Hons) in Otago and spent time living in Australia Artist. She has performed for over twenty Voice, and completed a Professional and the UK before returning to New years with New Zealand Opera as a soloist Performance Diploma at the Royal Zealand in 2012. He was an Emerging and chorus member. Recent roles include Northern College of Music in Manchester, Performer at the Australian Opera Studio Mother and Cousin: Madama Butterfly, UK (PPRNCM). Roles include Lucia in and Freemasons Opera Scholar with New Sweeney Todd Ensemble and Mrs Lovett Britten’s , Barbarina Zealand Opera. understudy. Major understudies include in Le nozze di Figaro, Susanna in Figaro, Countess: Le nozze di Figaro, Cio-Cio Second Lady in , Ramiro in Robert’s previous roles include Pish-Tush: San: Madama Butterfly, Madame Larina: La Finta Giardiniera, Jano in Jenůfa, Siebel The Mikado; Adolfo Pirelli: Sweeney Todd; Eugene Onegin, Santuzza: Cavalleria in Gounod’s , Hortense in The Opera Baron Douphol: La traviata; Tommo: Brass rusticana, Marjenka: The Bartered Bride, Ball, and Dido in Dido and Aeneas. Poppies; Yamadori/ Sharpless (cover): Susanna: Marriage of Figaro schools tour, Madama Butterfly; Masetto: Don Giovanni; Javotte: , Leila: The Pearl Fishers. Linden Loader Schaunard: La bohème; Noah: Noye’s Other major roles include Rosalinda: A Wellington based Mezzo Soprano and Fludde (NZO); Ford: Falstaff (IFAC Opera Die Fledermaus, Magda: The Consul, winner of the 1981 Mobil Song Quest, Japan); Count Almaviva: The Marriage of Governess: Turn of the Screw, Monica: Linden is a frequent performer on the opera Figaro (English Chamber Opera); Moralès: The Medium, Ghost of Christmas Past and oratorio platforms throughout New Carmen (Scottish Opera, AOS); Guglielmo: and Future: A Christmas Carol by Phillip Zealand. After completing a performance Così fan tutte (Australian Opera Studio, Norman for ; Countess Bachelor of Music at Victoria University, Opera Otago); Papageno: Die Zauberflöte; Adele: Le comte Ory, Suor Genevieve: she continued post-graduate studies at Harlequin: ; Lescaut: Suor Angelica, Nedda (understudy): the Guildhall School of Music and Drama Manon; Mr Peachum: The Threepenny Pagliacci for Canterbury Opera; Mimì: La in London. She has recently completed a Opera; Garibaldo: Rodelinda (AOS); and bohème for Opera Factory and Hawkes performance Masters in Music at Opera Highlights tour (Scottish Opera). Bay Opera; title role in Suor Angelica University. Linden is a recording artist for He has also made his film debut as Mr. for Opera Factory and understudy for Radio New Zealand and has recorded Peacock in the short film Mr. Peacocks Canterbury Opera. Concert engagements several CD’s. Linden has a particular Day based on the short story by Katherine have included soprano soloist (Verdi’s interest in New Zealand composed music. Mansfield. Requiem, Hamilton), Armida (Rinaldo, Handel Consort and Quire), soloist with Auckland Philharmonia, Auckland Chamber Orchestra, Auckland Symphony Orchestra, Operatunity, Auckland Choral Society, Lakeside Concert, Dame , Rob Guest, and Black Barn Hawkes Bay.

21 Kátya Kabanová, Seattle Opera (2017) Photo: Jacob Lucas

22 Freemasons Chorus

Ruth Armishaw (W) Dragan Atanasov (A) Cochise Avei (W) Terry Barry (A)

Craig Beardsworth (W) Chris Berentson (W) Samuel Butter (W) Lilia Carpinelli* (A)

Stuart Coats (W) Joanne Cole (A) Megan Corby (W) Lachlan Craig (A)

Declan Cudd* (W) Chelsea Dolman* (A) Clarissa Dunn (W) Celia Falchi* (W)

Taunoa Filimoehala (A) Clinton Fung (A) Andrew Grenon (A) Marian Hawke (W)

James Henare+ (W) Rhys Hingston (A) David Hwang (A) Shirley Kauter (W)

Patrick Kelly (A) Helen Kim (A) Matt Landreth (W) Manase Latu (A)

23 Fiona Li (A) Kate Lineham*(W) Giancarlo Lisi (W) Laura Loach (W)

Elizabeth Mandeno* (A) Tabatha McFadyen* (A) Glenn Meade (A) Mary Newman-Pound (A)

Garth Norman (W) Richard Olney (A) Jess Segal (W) Rowena Simpson (W)

Luka Venter (W) Bryan Wells (A) Jessica Wells (A) Natalie Williams (W)

Charles Wilson (W)

Actors Finn Blackwell(A), Penelope James(A), Kristin Roxburgh(A), + Dame Malvina Major Scholars 2017 Anastasia Reid(W), Anabel Jamieson(W), Zach Newton(W) * Freemasons New Zealand Opera Artists Žena Chelsea Dolman(A), Megan Corby(W) (A) Auckland Muž Andrew Grenon(A), Declan Cudd(W) (W) Wellington (C) Christchurch

24 Proudly transporting the production of Kátya Kabanová

Diederik van Heyningen credit: Tony Whitehead credit:

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Music Director Concertmaster Andrew Beer Associate Concertmaster Liu-Yi Retallick Assistant Concertmaster Miranda Adams First Violins Artur GrabczewskiS-P, Mark Bennett, Elzbieta Grabczewska, Ainsley Murray, Alexander Shapkin, Caroline von Bismarck, Yanghe Yu, Lucy Qi Zhang, Yuri Cho, Satomi Suzuki Second Violins Dianna CochraneSP, Xin (James) JinAP, William HanflingS-P, Rae Crossley-CroftSLE, Sarah Hart, Jocelyn Healy, Rachel Moody, Milena Parobczy, Ewa Sadag, Katherine Walshe, Violins Naomi Lee*, Charmian Keay*, Jessica Alloway* Violas Robert AshworthSP, David SamuelAP, Christine BowieS-P, Anne DraffinS-P, Helen Bevin, Ping Tong Chan, Gregory McGarity, Susan Wedde Trombones Douglas CrossSP, Mark CloseS-P Cellos Eliah Sakakushev-von BismarckSP, Bass Trombone Timothy SuttonP David GarnerAP, Liliya ArefyevaS-P, James Tuba Tak Chun LaiP sang-oh Yoo, Katherine Hebley, You Lee, Steven LoganSP Callum Hall, Sally KimOF Percussion Eric RenickSP, Jennifer RavenS-P, Basses Gordon HillSP, Annabella ZilberAP, Shane Currey Evgueny LanchtchikovS-P, Matthias Erdrich, Harp Rebecca HarrisP Michael Steer Celeste David Kelly* Maria PopovaSP, Kathryn MoorheadAP, Luca Manghi* Composer-in-Residence Karlo Margetić Piccolo Jennifer Seddon-MoriP Bede HanleySP, Camille WellsAP Martin LeeP James Fry (Eb )AP, Bridget Auckland Philharmonia Orchestra recieves Miles ()AP, Natalie Harris* major funding from: Ingrid HaganSP, Yang Rachel Guan EbbettAP Contrabassoon Ruth BrinkmanP Horns Nicola BakerSP, Emma EdenP, Carl WellsS-P, Simon WilliamsS-P, David Kay Huw DannSP, Jonah LevyAP, Norman McFarlaneAP, Daniel Henderson*

26

NZOPERAFOUNDATION

Foundation Bequestors Safeguarding the future of 22 anonymous, The Les & Sonia Andrews Cultural Foundation, Garry F Bell, The Peggy Hutchings Estate, Athol Mann, Donald Trott, Belinda Vernon, Glenda opera in New Zealand. It takes West, Dr Rosi Horrocks, Whanganui Regional Opera, Roger Beaumont. so little to support so much. Foundation Trustees

Sir David Gascoigne KNZM CBE (Chair), A will is something we all need. Having intentions. Bequests, whether modest or Thérèse Kelly (Administrator), Bill Falconer CNZM, Mark Horton, Margaret Hunn, Jenny Loosley, taken care of your loved ones, choosing substantial, require a simple statement Adam Ross, Paul MacLaren, Athol Mann CMG, to gift a portion of your legacy to the in your will or codicil. Your generous Suzanne Snively ONZM, Donald Trott ONZM JP. future of your other great love, opera, support helps secure the financial and will touch the lives of ordinary New artistic future of professional opera in Zealanders for many years to come. New Zealand. The New Zealand Opera Members of the Foundation: Foundation Trust was formed as a major Your generosity will help opera in New Members are people who have long-term source of financial support for Zealand to continue to thrive and will given meritorious service to opera in New Zealand. The Foundation’s assist the nurturing and training of mission is to encourage and support the opera through governance and emerging opera talent. It will help the development of opera at a professional management and who have been development of young minds through standard and to nurture the special vocal nominated by the trustees opera outreach programmes and bring talents and creative skills associated with + home New Zealand singers who have Sally Abernethy, Gregory Aim, Jonathan Alver, the art form. For more information on made it to the world stage to perform in Scott Ashton, Peter Averi, David Bigio, Lew Brown, making a bequest contact Donald Trott at Graham Beattie, Alison Buchanan, Bruce Carson, their home country. A gift of this nature is [email protected] or Clare Castle, Don Christiansen, Robin Congreve, a very personal decision and there are + phone 027 458 7411. Stephen Dee, Susie des Tombe, Christopher Doig, a number of ways you can express your Graeme Edwards, Chanelle Farmer, Kim Fisher, Creena Gibbons, Dame Jenny Gibbs DNZM, Angela Gorton JP, Mark Horton, Patricia Hurley, Eric Johnston, +Harvey Kerr, David Lewis, Sandra Lawrence, Barbara Matthews, Tony McElwee, +John Morrison, Barbara Moses JP, Matthew Muir, Lorraine Olphert, Catherine Peters, , Sally Sloman ONZM, The Hon Dame ONZ, Joanna Todd, Rosalie Thurston, Graham Upson, Gus van der Roer, James Young, Dame Beverley Wakem DNZM. + In Memoriam

“Making a bequest to the opera company is the least I can do to say thank you for providing me Kristin Darragh, Catrin Johnsson and Amelia Berry Proudly supported by the New Zealand Opera with so many happy and exciting in The Magic Flute, New Zealand Opera (2016) Foundation through bequests from Peggy Hutchings hours of opera going.” Photo: Neil Mackenzie. and Les & Sonia Andrews. Garry F Bell, Bequestor New Zealand Opera Board of Directors [email protected] nzopera.com General Director AM John Harvey (Chair), Chanelle Farmer, facebook.com/nzopera Executive Director Richard Knowles Tim Brown, Jim He, Annabel Holland, .com/nzopera Director of Music Wyn Davies Philip King, Matt Maling, Suzanne Snively ONZM, Annika Streefland, Donald Trott instagram.com/nz_opera Artist Contract Manager Jessica Duirs ONZM JP Artist Planning Co-ordinator Katie Flood Auckland Live Chorus Manager Glenn Meade Interns Principal Répétiteur and Vocal Coach Aotea Centre Bruce Greenfield 50 Mayoral Drive, Auckland Dame Malvina Major Foundation Mina Chorus Director (Auckland) and (09) 309 2677 Foley Scholar 2017 Jonathan Abernethy Associate Conductor John Rosser aucklandlive.co.nz Chorus Director (Christchurch) and Rt Hon Sir Don McKinnon Dame Malvina Major Scholars 2017 Chair Guest Répétiteur Sharolyn Kimmorley AM Eliza Boom, Olivia Sheat & James Henare Chief Executive Officer Chris Brooks Chorus Director (Wellington) and Director Robbie Macrae Associate Conductor Michael Vinten Dame Malvina Major Foundation Deputy Director, Head of Programming Technical Co-ordinator, Health & Safety Bernie Haldane Fellow 2017 James Harrison and Presenter Services Officer Hemi Wi-Piti Head of Marketing & Ticketing Angela Gourdie Freemasons New Zealand Opera Head of Development Caroline Nelson Artists 2017 Lilia Carpinelli, Declan Cudd, Head of Visitor Experience Wellington Development Manager Chelsea Dolman, Celia Falchi, Barbara David Bavage Alexandra Granville Graham, Elisabeth Harris, Kate Lineham, Head of Technical Operations Development Assistant Rowan Newton Elizabeth Mandeno, Morag McDowell, Kerry Griffiths Tabatha McFadyen, Daniel O’Connor, Production Manager Nicola Blackman Head of Marketing & Communications Sarah-Jane Rennie, Imogen Thirlwall Charlotte Rosier Box Office Manager Julie Bird Database & Ticketing Administrator Contact Details St James Theatre Alison Lambert Publicist Josie Campbell Auckland Managed by Venues Wellington, WREDA Marketing Assistant Bridget Lynd 69E St Georges Bay Road, 77—87 Courtenay Place, Wellington Parnell, Auckland 1052 (04) 801 4231 Head of Education Joanne Cole PO Box 6478, Welleslley Street, venueswellington.com Christchurch Education & Development Auckland 1141 Interim Chief Executive Derek Fry Co-ordinator Anna Hoetjes (09) 309 2677 Chair Peter Biggs Audience Engagement Co-ordinator Box Office 0800 696 737 General Manager - Venues, Marketing Andrew Gordon & Destination Development David Perks Wellington Head of Performances Helen Glengarry Finance Manager Maggie Li Freemason House, Head of Sales Jo Darby Senior Accounts Administrator 195—201 Willis Street, Head of Operations Adam Lynch Trish Milligan PO Box 6588, Marion Square, Wellington 6141 Patrons (04) 384 4434

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29 HELP US SHARE THE MAGIC OF OPERA WITH MORE

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Bene factors

We greatly appreciate the loyalty and support of our Benefactors.

Inner Circle Allison & Victor Diem Lizzie de Lambert Susan Doig John Dow Elizabeth Ball Charitable Trust Cathy Ferguson & Mike During* Steph Dyhrberg & Murray Bell Friedlander Foundation*– proudly supporting Sir David Gascoigne KNZM, CBE & Melvine Easton Wyn Davies, Director of Music Dame Patsy Reddy GNZM, QSO* The Emery Family Dame Jenny Gibbs DNZM* Michael & Creena Gibbons* Fraser & Barbara Finlayson* Helen Goodwin* Cushla R Fisher Dr John Grigor J & P Fitzpatrick Bravo Circle John & Sue Harvey David Flacks & Adina Halpern* David & Janet Mayes Nick Francis & Stephanie van Leuven John & Margaret Hunn* Dr Tom & Mrs Ann Morris* Helen Gaeta The Opera Foundation Ms Heather Pascual Beverly Gentles* The Hon. Dame Judith Potter DNZM* Brian & Vivienne Gillespie Aria Circle Carol & Geoffrey Reed Gilbert Glausiuss QSM & Patricia Glausiuss Geoff & Fran Ricketts* Sandra Greenfield* WN Pharazyn Trust Peter & Kay Squires Anthony Grigg & Paul Williamson The Farina Thompson Charitable Trust John R & Gilli Sutton* Michael and Jane Hall Turnovsky Endowment Trust Mr Noel & Mrs Joanna Todd* Roger & Jennifer Hamlin* The Wallace Foundation* Margaret Trotter D R Harlen Peter Wilson & Gerda McGechan* John & Gillian Harman* Felicity Wong Jenny Harper Dress Circle Antonia Hill Gold Prof. Les & The Late Dr Patricia Holborow* Garry F Bell* Felicity Holland Clyde Graham Charitable Trust John and Annabel Holland Anonymous 6 Sir Roderick & Gillian, Lady Deane* Dr Rosi Horrocks * Dr M & V Abernethy Alfons & Susie des Tombe* Mark & Gillian Horton Brent Anderson & Rae Mazengarb Bill & Olive Falconer* Dame Rosie & Mr Michael Horton* Jeff & Di Annan Chanelle & Dean Farmer Don & Janine Hunn Elizabeth Ashford Trevor & Jan Farmer* Mr Jeremy Johnson & Mr Kim Francis Cunningham & Alyson Atchison Grabs Trust Robert Johnston & Stella McDonald* Geoffrey Beadel Mrs Beverley McConnell MNZM, QSM* Philip King Bill & Frances Bell William & Lois Manchester Charitable Trust Kaye Lillico Richard Braae & Andrea Gray New Zealand Charitable Foundation Robert & Jenny Loosley* Je Lan Brash Mr Gary & Mrs Dot Paykel* Vivien & Don McGilvray Virginia Breen Dame Adrienne Stewart DNZM QSM LLD(Hon) Christine & Paul McLaren* Alison Buchanan, Eric Johnston Gabrielle Tasman Elizabeth McLeay Ros & Philip Burdon Prof A & Mrs R Thurston* Storm McVay & Miles Yeoman Dame Silvia & Peter Cartwright Noel & Kerrin Vautier* Matt & Julie Maling Chris Christensen* Alison Mann Janet Clarke & John Judge Athol & Ngaire Mann* Platinum Christina & David Clee* Stuart Maunder Alison Cook John Meads & Anne Marie Moorhead* Anonymous 1 Mrs Prue Cotter Dr Cary Mellow* Sally & Euan Abernethy Dorothy Coup Don & Deirdre Milne Paul & Sheryl Baines Gary & Julie Craig Dr John & Maureen Milne Celia Barker John & Margaret Cullen* Dr Stella Milsom Richard & Kate Burtt Dr Raewyn Dalziel Rosslyn Caughey Patricia Morrison, QSM Alison Morton Stephen & Laura Dee

32 Roger & Barbara Moses* Warren & Margaret Austad Robert & Freda Narev* Louise & Graham Mountfort Leslie Austin Richard & Joan Neild* Matthew Muir & James Peters* Mrs Ann Batten d’Lainee free Noonan-Brown Denise & Robert Murfitt Graham & Annie Beattie* Simon & Rachel O’Connor Sue Naylor* John & Beth Berry Ute Partridge Irene Norbis David Binning & Rachel McCahon* Patricia’s Opera Tours – Patricia Hurley Peter & Alison O’Brien Eric & Pamela Bloomfield Richard & Julia Perry Dr Kate O’Connor Patricia Bollard John & Anne Priestley* Denver & Prue Olde* David & Catherine Boyer Mrs P Reid* Tim & Lorraine Olphert Briggs Family Mr David & Mrs Yvonne Robinson Fay Pankhurst J E Brown* David & Dian Ross* Carolyn Penney Dr Ivan Connell & Ms Margaret Casey Judy Salmond Sam Perry & Iona Anderson Sally Connolly Chris Smith Peter Pritchard Mr Stuart Cook* Adrienne & Don Staples Barbara & Peter Raudkivi* Fred Davey John & Vanessa Stephens* Mrs Rosalind Reece & Mrs Vivian Fraser Ivan & Chris Donaldson Brian & Pam Stevenson* Kenneth L Richardson CVO, QSO Laurie & Sue Doolan* Tanglin Consultancy Ltd Graham & Lorna Robertson Elaine Engman John Tizard John & Anne Roche* Eric Espiner Dr Prue Tobin Dr Sylvia Rosevear Lance Feldwicke Donald Trott* Glenn Rush Rodger Finlay Ann Trotter Ron Saunders* Gerrard & Marti Friedlander* Bev & Gus Van de Roer* Jay Scanlon John & Nora Gabriel Hans and Margie van Schreven Heather Simpson Lisa Gallaway Grant & Lynda Walter* Andrew & Jenny Smith Mr Jack Greenfield Stuart Weston Suzanne Snively ONZM & Ian Fraser OBE Jackie & Graham Guthrie Debbie & Mike Whale Martyn & Shona Spencer* Peter & Joan Hanson* Mandy Jacqueline Wong The Robert & Barbara Stewart Charitable Trust Mr Timothy Hawley* Mark Stewart & Ainsley Walter Robin Hill & Vicki Allpress Hill Bronze Dr Alastair & Mrs Susan Stokes Dr M Hobbs & Mrs A Hobbs Kate Stutter & Tim Harding Frances Hollis Our thanks also to all of our Bronze Lady Tait* Melville Killip Benefactors. Wallace Te Ahuru Peter Ledingham S L Thompson Geoff & Elizabeth Lee * Founding Benefactors Judith Trotter Francey Lewis Belinda Vernon* Caroline & Gerald McGhie Sandra Walsh Alison & Ken McKenzie Linda & Warwick Webb Ian & Jenny McKinnon Gael Webster & Tim Brown Bruce & Sandi McLean* Richard & Elaine Westlake Jim & Eve McMahon Leona Wilson* Mora McNeill Dr John Wright Ann Mallinson Prue Manji Silver Raymond & Barbara Matthews* A & R Mercer Arend Merrie Anonymous 6 Cheryl Middelkoop Jocelyn Afford & Stephen Kós Neil & Ruth Middleton Jane Aim* Robert & Lynne Morton Richard & Heather Armishaw

33 Partners

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

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34 2018 Season

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