KATYA KABANOVA - TILL DEATH DO US PART - NZ Opera
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TILL DEATH DO US PART Black Reverse Gold KATYA PRESENTS KABANOVA Silver
See behind-the-scenes
footage, read about the cast
and learn more about opera.
nzopera.com
KATYA
KABANOVA
Auckland Opera in three acts by Leoš Janáček.
ASB Theatre, Aotea Centre Libretto by Leoš Janáček, adapted
16, 21, 23 September at 7.30pm from Vincenc Červinka’s translation
19 September at 6.30pm of Alexander Ostrovsky’s play The
Storm.
Wellington
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 Brno on 23 November
1921.
A Seattle Opera 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 Charles Mackerras) are
given by permission of Hal Leonard
Australia 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
NEW ZEALAND 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 New Zealand Opera
Zealand Opera was its proud tradition of pushing the productions of La bohème and Eugene Onegin. 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, The Bartered Bride, Macbeth 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 operas of the 20th Century -
Leoš Janáček’s Kátya Kabanová. And who better to conduct our performance partners
Auckland Philharmonia Orchestra and the New Zealand
In the hands of our brilliant ensemble, Janáček’s powerful Symphony Orchestra than our Director of Music, 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 soprano Dina Kuznetsova, 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 North Island debut of a singer look forward to welcoming you to our 2018 season;
who cut his operatic tenor 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 Madama Butterfly in Christchurch: Angus
Wood. We welcome back much-loved New Zealand See you at the opera.
operatic stars Margaret Medlyn and Conal Coad 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 Kiwi singers; Andrew
Glover, James Benjamin Rodgers and Robert Tucker.
5
Carmen, New Zealand Opera (2017) Photo: Marty Melville Proud to support New Zealand 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 composer’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 song. 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 Prague 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 Rusalka (1901), Czech composers 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 passion, 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 The Cunning Little Vixen, 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
classical music 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 Moscow, 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.
10In 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 songs 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
Jonathan Dean is Dramaturg at Seattle Opera. This article was originally printed in
for the playwright’s social criticism. Less interested in
Seattle Opera ’s program for Kátya Kabanová.
social critique, Janáček made his extraordinary orchestra
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THE ART OF CYBER SECURITYCredits
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
13the 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.
14ACT 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.
15Kátya Kabanová, Seattle Opera (2017) Photo: Philip Newton
16creatiVe 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 Music of New Zealand 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 Scottish Opera), Jenůfa, Falstaff, the Australian performing arts was Jacqueline has directed numerous opera
Don Giovanni, Don Pasquale (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, Gianni Schicchi, large scale outdoor performance and the Elixir of Love, The Barber of Seville
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
(Welsh National Opera); The Magic Flute, Eden (Best Director, Dunedin Theatre
The Barber of Seville, The Mikado with From 2009-2014 Patrick was Artistic Awards), Orfeo, Così fan tutte, Larnach,
English National Opera; 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); Suor Angelica,
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; Die Fledermaus, 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);
(Sydney 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, Dido and Aeneas, 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, (Opera Australia); 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 Melbourne 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.
17Cast
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 Columbia University/ USYD in May and A Daughter is a Daughter Opera House Covent Garden, Wiener
participatory design studio that works with (Trafalgar Studios); and Sweeney Todd Staatsoper, Bayerische Staatsoper and The
global communities to devise grassroots (Royal Opera, Covent Garden); Rites Metropolitan Opera.
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, Bell Mama. Glyndebourne Festival under Sir Andrew
Shakespeare Company, Queensland Davis and in Montpellier, Desdemona
Theatre Company, Melbourne Theatre Awards for Lighting Design include the (Otello) 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 Edinburgh 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 Rodelinda 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.
18Angus 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
through a bequest from Peggy Hutchings and
completed his Bachelor of Music (Honours) Fielding-born, Conal Coad began his
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 London, 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: Tosca, Pinkerton: Madama His extensive repertoire includes all the
State Opera and opera companies in
Butterfly and Turiddu: Cavalleria rusticana major Donizetti and Rossini comic bass
Australia, including Opera Australia.
for West Australian Opera; Pinkerton for roles and the Verdi and Strauss bass roles.
Previous roles include title role in Salome,
New Zealand Opera; Alfredo: La traviata, Conal is also a specialist in the roles of
Marie: Wozzeck, Agathe: Der Freischütz,
Edgardo: Lucia di Lammermoor and Benjamin Britten, particularly ‘Bottom’
Giorgetta: Il tabarro 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, Aldeburgh Festival this June.
Il trovatore (Opera Queensland); Leonore:
Tasmanian and West Australian Symphony
Il trovatore and Kundry: Parsifal (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 Europe. New Zealand
Aida, Tosca and Turandot (New Zealand
Choirs. audiences have seen him in Turandot, Lucia
Opera); Judith: Duke Bluebeard’s Castle
di Lammermoor, Fidelio, 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
Tristan und Isolde. Recent engagements
Germany, Austria and Switzerland (Polygram/ABC Classics), New Zealand at
include Verdi’s Requiem with NZSO, the
where his roles included Tamino: Die Covent Garden (Kiwi Pacific Records)‚
solo in Gareth Farr’s Relict Furies, Jocasta
Zauberflöte, Radamès: Aida, Don José: Mozart Opera Arias (Polygram/ABC
in Oedipus Rex 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.
19Andrew 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 through a bequest from Peggy Hutchings and the Les
member of Opera Queensland’s Young and
& 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 The Perfect American, Suzuki
barbiere di Siviglia. A 2004 PwC Dame Merola Opera Program, Toledo Opera,
in Madama Butterfly, Prince Orlofsky in Die
Malvina Major Emerging Artist, Andrew Opera Omaha, 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, Opera North The Beijing Modern Music Festival, The
the Hessisches Staatstheater Wiesbaden
and Garsington Opera. 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 the Royal Opera House, Covent Garden,
roles, including Donna Elvira in Mozart’s
making his debut as Beppe in Pagliacci. 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 The Merry Widow as part
Symphony Orchestra, Perth Orchestra, music and in 2014 released his debut
of the Queensland Music Festival and
Tonbridge Philharmonic Orchestra, album – 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.
20Robert 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
baritone 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 The Rape of Lucretia, 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 The Magic Flute, 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 Faust, 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: Manon, 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 Opera Factory; 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: Ariadne auf Naxos; 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 Waikato
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,
Rotorua Lakeside Concert, Dame Kiri
te Kanawa, Rob Guest, and Black Barn
Hawkes Bay.
21Kátya Kabanová, Seattle Opera (2017) Photo: Jacob Lucas
22Freemasons 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)
23Fiona 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
24Proudly transporting the
production of Kátya Kabanová
credit: Diederik van Heyningen
credit: Tony Whitehead
Sharing the dream with young performing artists
since 1991
Help us realise the potential of New Zealand’s best young talent.
Make your donation at dmmfoundation.org.nz
dmmfoundationorchestras
Auckland Philharmonia
Orchestra
Music Director Giordano Bellincampi
Concertmaster Andrew Beer
Associate Concertmaster Liu-Yi Retallick
Assistant Concertmaster Miranda Adams
First Violins Artur Grabczewski S-P, Mark
Bennett, Elzbieta Grabczewska, Ainsley
Murray, Alexander Shapkin, Caroline von
Bismarck, Yanghe Yu, Lucy Qi Zhang, Yuri
Cho, Satomi Suzuki
Second Violins Dianna Cochrane SP, Xin
(James) Jin AP, William Hanfling S-P, Rae
Crossley-Croft SLE, Sarah Hart, Jocelyn
Healy, Rachel Moody, Milena Parobczy,
Ewa Sadag, Katherine Walshe,
Violins Naomi Lee*, Charmian Keay*,
Jessica Alloway*
Violas Robert Ashworth SP, David Samuel AP,
Christine Bowie S-P, Anne Draffin S-P, Helen
Bevin, Ping Tong Chan, Gregory McGarity,
Susan Wedde Trombones Douglas Cross SP, Mark Close S-P
Cellos Eliah Sakakushev-von Bismarck SP, Bass Trombone Timothy Sutton P
David Garner AP, Liliya Arefyeva S-P, James Tuba Tak Chun Lai P
sang-oh Yoo, Katherine Hebley, You Lee, Timpani Steven Logan SP
Callum Hall, Sally Kim OF Percussion Eric Renick SP, Jennifer Raven S-P,
Basses Gordon Hill SP, Annabella Zilber AP, Shane Currey
Evgueny Lanchtchikov S-P, Matthias Erdrich, Harp Rebecca Harris P
Michael Steer Celeste David Kelly*
Flutes Maria Popova SP, Kathryn
Moorhead AP, Luca Manghi* Composer -in-Residence Karlo Margetić
Piccolo Jennifer Seddon-Mori P
Oboes Bede Hanley SP, Camille Wells AP
Cor Anglais Martin Lee P
Clarinets James Fry (Eb Clarinet) AP, Bridget Auckland Philharmonia Orchestra recieves
Miles (Bass Clarinet) AP, Natalie Harris* major funding from:
Bassoons Ingrid Hagan SP, Yang Rachel
Guan Ebbett AP
Contrabassoon Ruth Brinkman P
Horns Nicola Baker SP, Emma Eden P, Carl
Wells S-P, Simon Williams S-P, David Kay
Trumpets Huw Dann SP, Jonah Levy AP,
Norman McFarlane AP, Daniel Henderson*
26NZOPERAFOUNDATION
Foundation Bequestors
Safeguarding the future of 22 anonymous, The Les & Sonia Andrews Cultural
Foundation, Garry F Bell, The Peggy Hutchings Estate,
opera in New Zealand. It takes Athol Mann, Donald Trott, Belinda Vernon, Glenda
West, Dr Rosi Horrocks, Whanganui Regional Opera,
Roger Beaumont.
so little to support so much.
Foundation Trustees
Sir David Gascoigne KNZM CBE (Chair),
Thérèse Kelly (Administrator), Bill Falconer CNZM,
A will is something we all need. Having intentions. Bequests, whether modest or
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 opera through governance and
mission is to encourage and support the
emerging opera talent. It will help the management and who have been
development of opera at a professional
development of young minds through nominated by the trustees
standard and to nurture the special vocal
opera outreach programmes and bring
talents and creative skills associated with Sally Abernethy, +Gregory Aim, Jonathan Alver,
home New Zealand singers who have
the art form. For more information on Scott Ashton, Peter Averi, David Bigio, Lew Brown,
made it to the world stage to perform in
making a bequest contact Donald Trott at Graham Beattie, Alison Buchanan, Bruce Carson,
their home country. A gift of this nature is Clare Castle, Don Christiansen, Robin Congreve,
bequest@nzoperafoundation.co.nz or
a very personal decision and there are Stephen Dee, Susie des Tombe, +Christopher Doig,
phone 027 458 7411.
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, John Shaw,
Sally Sloman ONZM, The Hon Dame Catherine
Tizard 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, BequestorNew Zealand Opera Board of Directors hello@nzopera.co.nz
nzopera.com
General Director Stuart Maunder AM John Harvey (Chair), Chanelle Farmer, facebook.com/nzopera
Executive Director Richard Knowles Tim Brown, Jim He, Annabel Holland,
youtube.com/nzopera
Director of Music Wyn Davies Philip King, Matt Maling, Suzanne Snively
instagram.com/nz_opera
ONZM, Annika Streefland, Donald Trott
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 Chair Rt Hon Sir Don McKinnon
Dame Malvina Major Scholars 2017
Guest Répétiteur Sharolyn Kimmorley AM Chief Executive Officer Chris Brooks
Eliza Boom, Olivia Sheat & James Henare
Chorus Director (Wellington) and Director Robbie Macrae
Associate Conductor Michael Vinten Deputy Director, Head of Programming
Dame Malvina Major Foundation
Technical Co-ordinator, Health & Safety and Presenter Services Bernie Haldane
Fellow 2017 James Harrison
Officer Hemi Wi-Piti Head of Marketing & Ticketing
Angela Gourdie
Freemasons New Zealand Opera
Head of Development Caroline Nelson Head of Visitor Experience
Artists 2017 Lilia Carpinelli, Declan Cudd,
Wellington Development Manager David Bavage
Chelsea Dolman, Celia Falchi, Barbara
Alexandra Granville Head of Technical Operations
Graham, Elisabeth Harris, Kate Lineham,
Development Assistant Rowan Newton Kerry Griffiths
Elizabeth Mandeno, Morag McDowell,
Production Manager Nicola Blackman
Tabatha McFadyen, Daniel O’Connor,
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
Managed by Venues Wellington, WREDA
Publicist Josie Campbell Auckland
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
(04) 384 4434
Patrons
Christchurch
Hon Dame Patsy Reddy GNZM, QSO,
PO Box 36579, Merivale,
Governor-General
Christchurch 8146
Phil Goff, Mayor of Auckland
Justin Lester, Mayor of Wellington
Lianne Dalziel, Mayor of Christchurch
The Hon Dame Catherine Tizard ONZ
29HELP US SHARE THE MAGIC OF OPERA
WITH MORE NEW ZEALANDERS
Madama Butterfly, New Zealand Opera (2013). PHOTO: NEIL MACKENZIE.
Year after year, our valued benefactors help us to bring world-class opera
to the people of New Zealand.
Benefactors can deepen their engagement with New Zealand Opera
through opportunities ranging from dress rehearsal attendance to access
to our VIP Lounge to unique events with principal artists.
To find out how you can strengthen your relationship with New Zealand Opera
and help us to do more, visit our website – nzopera.com/support
– or email benefaction@nzopera.co.nz
3615_NZO_LaTrav_Prog_2016_PRINT.indd 31 30/06/16 11:55 AMBenefactors
We greatly appreciate the loyalty and support of our Benefactors.
Allison & Victor Diem Lizzie de Lambert
Inner Circle
Susan Doig John Dow
Cathy Ferguson & Mike During* Steph Dyhrberg & Murray Bell
Elizabeth Ball Charitable Trust
Sir David Gascoigne KNZM, CBE & Melvine Easton
Friedlander Foundation*– proudly supporting
Dame Patsy Reddy GNZM, QSO* The Emery Family
Wyn Davies, Director of Music
Michael & Creena Gibbons* Fraser & Barbara Finlayson*
Dame Jenny Gibbs DNZM*
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
Carol & Geoffrey Reed Gilbert Glausiuss QSM & Patricia Glausiuss
Aria Circle
Geoff & Fran Ricketts* Sandra Greenfield*
Peter & Kay Squires Anthony Grigg & Paul Williamson
WN Pharazyn Trust
John R & Gilli Sutton* Michael and Jane Hall
The Farina Thompson Charitable Trust
Mr Noel & Mrs Joanna Todd* Roger & Jennifer Hamlin*
Turnovsky Endowment Trust
Margaret Trotter D R Harlen
The Wallace Foundation*
Peter Wilson & Gerda McGechan* John & Gillian Harman*
Felicity Wong Jenny Harper
Dress Circle Antonia Hill
Prof. Les & The Late Dr Patricia Holborow*
Garry F Bell* Gold Felicity Holland
Clyde Graham Charitable Trust John and Annabel Holland
Sir Roderick & Gillian, Lady Deane* Anonymous 6
Dr Rosi Horrocks *
Alfons & Susie des Tombe* Dr M & V Abernethy
Mark & Gillian Horton
Bill & Olive Falconer* Brent Anderson & Rae Mazengarb
Dame Rosie & Mr Michael Horton*
Chanelle & Dean Farmer Jeff & Di Annan
Don & Janine Hunn
Trevor & Jan Farmer* Elizabeth Ashford
Mr Jeremy Johnson & Mr Kim Francis
Grabs Trust Cunningham & Alyson Atchison
Robert Johnston & Stella McDonald*
Mrs Beverley McConnell MNZM, QSM* Geoffrey Beadel
Philip King
William & Lois Manchester Charitable Trust Bill & Frances Bell
Kaye Lillico
New Zealand Charitable Foundation Richard Braae & Andrea Gray
Robert & Jenny Loosley*
Mr Gary & Mrs Dot Paykel* Je Lan Brash
Vivien & Don McGilvray
Dame Adrienne Stewart DNZM QSM LLD(Hon) Virginia Breen
Christine & Paul McLaren*
Gabrielle Tasman Alison Buchanan, Eric Johnston
Elizabeth McLeay
Prof A & Mrs R Thurston* Ros & Philip Burdon
Storm McVay & Miles Yeoman
Noel & Kerrin Vautier* Dame Silvia & Peter Cartwright
Matt & Julie Maling
Chris Christensen*
Alison Mann
Janet Clarke & John Judge
Platinum Athol & Ngaire Mann*
Christina & David Clee*
Stuart Maunder
Alison Cook
Anonymous 1 John Meads & Anne Marie Moorhead*
Mrs Prue Cotter
Sally & Euan Abernethy Dr Cary Mellow*
Dorothy Coup
Paul & Sheryl Baines Don & Deirdre Milne
Gary & Julie Craig
Celia Barker Dr John & Maureen Milne
John & Margaret Cullen*
Richard & Kate Burtt Dr Stella Milsom
Dr Raewyn Dalziel
Rosslyn Caughey Patricia Morrison, QSM
Alison Morton
Stephen & Laura Dee
32Roger & 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
Raymond & Barbara Matthews*
Silver A & R Mercer
Arend Merrie
Anonymous 6
Cheryl Middelkoop
Jocelyn Afford & Stephen Kós
Neil & Ruth Middleton
Jane Aim*
Robert & Lynne Morton
Richard & Heather Armishaw
33Partners
New Zealand Opera would like to thank the following organisations for their generosity and support.
Government
Partners
Chorus Partner Community Partner
Artist Partners
Presenting
Partners
Venture
Partners
Accommodation
Partners
Hospitality
Partners
Trusts &
Foundations
Sir John Logan Campbell
Residuary Estate
NZ C OMMUNITY TRUST
Supporters St Margaret’s College Moffatt’s Flower Company Mossgreen-Webb’s
Comber and Comber Hoekstra Pianos Provision
34You can also read
