It was all as promised! – “…..With our sense of style and fun we will bring this 300 year-old music to life for Wellingtonians today” ran the Queen’s Closet’s online advertising blurb……..at the conclusion of all the fun and gaiety a roomful of Wellingtonians at the Foxglove Ballroom venue on the city’s waterfront readily testified to the success of this venture with sustained applause and subsequent babblings of excitement... read more

At the end of a busy and distracted Friday I found myself headed for St.Peter’s-on-Willis-St Church for Camerata’s latest “Haydn in the Church” concert series, which I’d been looking forward to ever since attending and enjoying the last one, though on this occasion I’d not been as assiduous in my preparation for the evening’s music as per usual – I had seen the programme on-line a couple of days... read more

How refreshing to read in the programme accompanying Wellington Opera’s “Don Giovanni” an appreciation of Mozart’s and his librettist Lorenzo da Ponte’s opera from the Governor-General, Dame Patsy Reddy, thus: “Quite apart from the exquisite pleasures of Mozart’s score, it (the opera) offers a timeless plot line that will resonate with audiences in the “Me Too” era.” For me, that sums up in a nutshell the potential for a... read more

In common with most of the world, Bellini is no longer a famous composer in New Zealand; his operas are now rarely performed. Of Bellini’s operas only Norma gets much attention. I’m only aware of Canterbury Opera’s production of it in 2002, since its last professional production by a touring company in 1928. However, in 2016 Rhona Fraser’s Opera in a Days Bay Garden was responsible for a somewhat rarer... read more

'It may surprise people to learn that Albert Camus once wrote about opera – in his definitive novel about a twentieth century epidemic. La Peste (The Plague) includes a bizarre, disturbing scene in an opera house. Seventy-five years after its publication, the novel can still speak to us about such a plague, and even more about opera. 'Yet Camus describes a very different epidemic from ours. Social distancing, let alone... read more

In the absence of real concerts that Middle C can review, why not publish things of musical interest that might in small part make up for the deprivations we all suffer at present?  Here is an article that appeared in 2018 in the Montreal Globe and Mail that might interest those who saw Claude Vivier’s opera, Kopernikus, at the recent festival in Wellington. I came across a reference to Vivier... read more

Firstly, some background for the curious – the “King” of this concert’s title is King George III of England, who suffered from mental illness throughout his adult life, eventually being removed from his throne and kept under lock and key in Windsor Castle. Over his final decade he lost his eyesight and hearing, and fell prey to frequent manic episodes, by all accounts babbling endlessly as he slid into... read more

It hasn’t been hard to have missed references in the international musical press to a very unusual opera by an unorthodox, fairly obscure composer. Think again if you imagined you would be presented with a kind of operatic biography of the great astronomer, for he is merely one of a number of disparate historical and fictional figures that feature in Canadian composer Claude Vivier’s work. A work that that is... read more

My colleague Peter Mechen reviewed what might have been considered the preview performance of Poulenc’s monodrama La voix humaine, on 31 January. But being a huge fan of Poulenc I felt that Paterson's performance in the Festival itself deserved attention. La voix humaine is one of the most remarkable operatic pieces: not merely of the 20th century; not merely on account of the music which is a tremblingly vivid evocation of... read more

As we took our seats in the confined spaces of Cuba St.’s Suite gallery, pianist Gabriela Glapska was playing the music of Satie, beautifully coalescing the sounds of the composer’s Gymnopedies, the dance figurations wrought by the pianist almost as “held” as if depicted on a Grecian urn and the tones as “imagined” as they were real - “heard melodies are sweet, but…..” – here, time seemed to be... read more