After reading various reviews of the Royal New Zealand Ballet’s production of Auckland composer Claire Cowan’s Hansel and Gretel, toured by the company during 2019, I’m left feeling like one of the “gentlemen of England now abed” from Shakespeare’s Henry V play, those whom the monarch prophesised would “think themselves accurs’d” for not being at Agincourt to share in the splendour of the occasion’s success. And now, having listened... read more

NZSO Chief Executive Peter Biggs called this evening’s concert “a belated wish come true”, after the NZSO NYO’s plans for mid-year Wellington and Auckland performances together with the NZSO of Shostakovich’s epic “Leningrad” Symphony were cancelled due to the coronavirus pandemic. After such a disappointment, the young players were “overjoyed” that the lifting of restrictions nation-wide enabled a new concert to be announced for the year’s end, with the... read more

Verdi: La Forza del Destino overture The overture to Verdi's opera, 'The Power of Fate' is much more popular than the opera itself. It encapsulates the drama of the opera, its lyricism and its wonderful melodies. It opens with three unison chords for the brasses, followed by repeated agitated phrases by the lower strings, which foreshadows the tragedy of the drama to follow. A beautiful mournful theme from Act 3... read more

I can’t remember a Wellington audience leaping to its collective feet at the conclusion of a recent “Messiah” with quite such unbridled enthusiasm as we all found ourselves doing this evening, caught up in what suddenly felt like, from where I had been sitting, a near-tsunami of acclamation for the musicians and the music at the end of the performance’s final “Amen” chorus.  Certainly, our sensibilities had been “stoked”... read more

Not only was this the last in the 2020 St Andrew’s lunchtime concert series (not counting the church’s Christmas carol service next Wednesday, 16 December); but the last concert organised by Marjan van Waardenberg at St Andrew’s: a voluntary job she has done since 2005. The concerts have been transformed dramatically during the time she has led them, from short series of concerts through the year to an unbroken... read more

It’s a measure of the remarkable staying power of Beethoven’s music that new performances and recordings of works that many of us know so well through having heard them countless times over the years simply keep coming (and show no signs of abating two hundred and fifty years after the composer’s birth).  Having recently heard a good deal of the New Zealand String Quartet’s acclaimed traversal of the great... read more

The large line-up of percussion instruments at the front of the orchestra would have given an inkling to the audience that they would be in for a challenging, interesting evening of music. Although the John Psathas' View from Olympus has had many performances, premiered by the Halle Orchestra in Manchester in 2002, it is still music off the beaten track for an audience of predominantly older concert goers. The... read more

A footnote to the show’s title above the cast list in the programme reads: “The performers you may or may not see, tonight....”. When putting the show together around the talents of three ninety-plus performers, Dame Kate Harcourt, Coral Trimmer and Sunny Amey, the producer of “The Older, the Better” Kate JasonSmith found so many willing participants among what she called “a fabulous collection of Gold Card performers” that... read more

I tried, I REALLY DID try to NOT look at my previous review for “Middle C” of the concert featuring the Gareth Farr 'Cello concerto played by the same ‘cellist, Sébastien Hurtaud (also with the NZSO, though with a different conductor, Hamish McKeich) before writing this present review of the piece’s CD recording – of course, it was a different performance which needed to be “responded to” on its... read more

This recording, “Resounding Aftershocks”  broke an eight-year silence for the Christchurch Town Hall Rieger organ which followed the catastrophic 2011 earthquakes, and, as befitted the occasion, celebrated the instrument’s return to full prowess in heady fashion! Organist Martin Setchell’s long-established brilliance and elan as a performer is here demonstrated to the utmost thanks to the skills and expertise of the disc’s sound engineer Mike Clayton, capturing the occasion most... read more